iia 


LIBRARY 

UNIVE'?;  TY  OF 

CAulFCRNIA 
SAN  DIEGO     • 


HUGO  A.  RENNERT 


BIBLIOGRAPHY 

OF  THE  DRAMATIC  WORKS 

OF 

LOPE  DE  VEGA  CARPIO 

BASED   UPON   THE   CATALOGUE   OF   JOHN    RUTTER    CHORLEY 


Extrait  de  la  Revue  Hispaniqiii',  tome  XXXIII 


NEW  YORK,   PARIS 
1915 


TO 
JAMES   FITZMAURICE-KELLY 

IN  GRATEFUL  MEMORY  OF  HIS  KINDNESS 
AND  ADMIRATION  OF  HIS  SCHOLARSHIP 


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BIBLIOGRAPHY 
OF  THE   DRAMATIC  WORKS 

OF 

LOPE    DE    VEGA    CARPIO 

BASED    UPON    THE    CATALOGUE    OF    JOHN    RUTTER    CHORLEY 


PRELIMINARY    NOTE 


The  basis  of  the  present  bibhography  is  an  interleaved  copy 
of  John  Rutter  Chorley's  Catdhfgo  de  Comedias  y  Autos  de  Frey 
Lope  Felix  de  Vega  Carpio  which  in  its  original  form  was  print- 
ed at  the  end  of  the  fifty-second  volume  of  the  Biblioteca  de 
Autores  Espaholes  (pp.  535-558).  This  interleaved  copy  was 
bequeathed  by  Chorlcy  to  the  British  Museum,  and  was  received 
by  the  Museum  officials  on  November  9,  1867.  There  it 
appears  to  have  remained  unnoticed  by  all  students  of  Spanish, 
with  the  exception  of  Mr.  James  Fitzmaurice-Kelly  who  inform- 
ed me  of  its  existence,  and  supplied  me  with  a  copy  of  it.  The 
title  of  the  revised  version  reads  :  —  Catdlngo  de  Comedias  y 
Autos  de  Lope  de  Vega.  For  J.  R.  C.  Impreso  en  Madrid  : —  con 
adiciones  v  notas  de  Barrera.  Alio  de  1S61.  Adicionado  y  corre- 
gido  en  Ms.  por  su  redactor  original.  Aho  de  1864.  The  press- 
mark is  1 1725   h.  The  original  is  wholly  in  Spanish. 

In  his  preliminary  Advertencia  Chorley  states  that  the  first 
draft  was  finished  in  October  1857,  ^^^  ^^^Y  forwarded  to 
Hartzenbusch,  who  communicated  it  to  La  Barrera  (i860).   It 


REVUE    HISPANIQUE.    G. 


HUGO    A.    RENNERT 


was  published  in  1861  with  La  Barrera's  adiciones  y  correcciones, 
and  with  a  few  notes  by  Hartzenbusch.  Chorley  observes  that, 
with  the  exception  of  the  Hst  in  the  1618  edition  of  the  Pere- 
griuo  en  sii  Palria,  which  had  been  overlooked  or  forgotten  for 
more  than  a  centur}%  La  Barrera's  additions  are  of  no  great  value  ; 
that  La  Barrera's  «  corrections  »  do  not  always  deserve  the 
name,  and  that  La  Barrera  occasionally  represents  himself  as 
being  the  author  of  notes  which,  as  a  matter  of  fact,  figured  in 
Chorley 's  manuscript.  In  the  refonte  Chorley  restores  his  Catalogo 
to  its  primitive  form  which  Hartzenbusch  and  La  Barrera  had 
altered.  This  unauthorized  rearrangement  of  the  materials  was 
not,  in  the  English  bibliographer's  opinion,  a  change  for  the 
better. 

Though  it  dates  back  to  1864,  Chorley's  revision  of  his  work 
is  so  characteristically  thorough  that  it  leaves  comparatively  little 
to  be  gleaned  by  his  successors.  Still,  I  have  spared  no  pains  to 
attain  additional  accuracy  in  the  minutiiu,  and  I  have  embodied 
the  additional  material  which  Chorley  would  certainly  have 
included  had  it  been  available  in  his  time.  In  so  extensive  a  series 
of  elaborate  tables,  abounding  at  every  page  in  complex  details, 
the  possibilities  of  error  are  almost  illimitable,  and  experts  will 
no  doubt  detect  in  the  subjoined  lists  a  certain  number  of  mis- 
takes, omissions,  superfluities  and  contradictions.  But  I  trust 
that  the  proportion  of  such  defects  may  not  be  excessive,  and, 
in  any  case,  I  can  sincerely  say  that  all  corrections  of  my  short- 
comings will  be  received  with  gratitude. 

NOTE  TO  THE  SECOND  EDITION 

The  above  '  Preliminary  Note  '  was  prefixed  to  the  Biblio- 
graphy of  Lope  de  Vega's  Comedias  and  Autos  which  appeared  in 
my  Life  of  Lope  de  Vega,  Glasgow^  Gowans  &  Gray,  1904.  It  is 
hoped  that  in  this  second  edition  the  Bibliography  will  be  found 
much  improved.  Many  additions  have  been  made  ;    especially 


BIBLIOGRAPHY    Ol-    LOPE    DE    VEGA  3 

useful  have  been  Professor  Restori's  reviews  of  the  Spanish 
Academy's  monumental  edition  of  Lope  de  Vega  (edited  by  the 
late  Sr.  Menendez  y  Pelayo),  published  in  the  Zeitschrift  fiir 
romanische  Philologie,  vols.  22-31,  and  the  Bibliografia  Madrikha 
of  Sr.  Perez  Pastor.  The  mistakes  of  the  first  issue  have  been 
corrected  and  the  omissions  have  been  supplied  to  the  best  of 
my  ability. 

Students  of  Lope  de  Vega  must  ever  regret  the  untimely  death 
of  that  greatest  conocedor  of  Lope  de  Vega,  Sr.  Menendez  y 
Pelayo.  No  one  has  ever  known  Lope  de  Vega  as  intimately  as 
he  knew  him,  and  the  writer  will  ever  remember  that  profound 
scholar  with  gratitude  for  his  encouraging,  sympathetic  criticism. 

H.  A.  R. 

CATALOGUE  OF  COMEDIAS  AND  AUTOS 
OF  FREY  LOPE  FELIX  DE  VEGA  CARPIO 

NOTES  AND  EXPLANATIONS 

The  titles  of  the  dramatic  works  which  make  up  this  Cata- 
logue have  been  gathered  from  the  works  quoted  below. 

In  the  first  place  comes  the  great  collection  of  Coniedias  de 
Lope  de  Vega,  which  consists  of  twenty-five  volumes  or  Partes, 
in  Spanish  quarto,  printed  between  i6o4and  1647.  In  the  copies 
of  which  any  information  exists  at  present,  Partes  III  and  V 
of  this  series  correspond  apparently  to  another  collection  of  various 
coniedias  by  divers  authors  :  so  that,  strictly  speaking.  Partes 
III  and  V  of  Lope's  coniedias  are  unknown.  And,  on  the 
other  hand,  while  there  exists  a  Parte  XXII  and  a  Parte  XXIV 
of  coniedias,  really  and  truly  written  by  Lope  de  Vega, 
there  are  also  another  Parte  XXII  and  two  separate  volumes 
entitled  Parte  XXIV  which  purport  to  be  by  our  author  and 
in  fact  contain  pieces  by  him,  though  these  are  intermingled 
with  plays  by  other  poets. 


HUGO    A.    RENNERT 


Tlie  volume  entitled  Seis  Comedias  dc  Lope  de  Vega  printed 
at  Madrid  and  Lisbon  in  1603,  contains  :\  comedia  by  our  author 
following  upon  five  supposititious  coiuedias  ascribed  to  him . 

The  work  to  which  Lope's  son-in-law,  D.  Luis  de  Usategui, 
gave  the  title  of  La  Vega  del  Parnaso  '  contains  eight  comedias  by 
Lope. 

Two  are  contained  in  the  Relacionde  las  Fiestas  que  la  Villa  de 
Madrid  hi~o  en  la  canoui^acion  de  S.  Isidro. 

A  book  entitled  Doce  Comedias  nueiias  de  Lope  de  Vega  y  otros 
antores,  Segunda  Parle  contains  four  comedias  by  Lope. 

Four  volumes,  numbered  Parte  XXVI,  Parte  XXVII,  Parte 
XXVIII  and  Par.'e  XXIX  de  Comedias  de  Lope  include  plays  by 
our  author  and  others'.  These  four  are  usually  called  by  bibli- 
ographers Partes  de  Lope  de  Vega  extravagantes. 

Comedias  by  Lope  are  found,  moreover,  in  Parte  XXVIIl 
dc  Comedias  de  diferentes  aiitores  and  in  Partes  XXIX,  XXX, 
XXXL  XXXII,  XXXIII,  XXXVn,  and  XLIV  of  that  collec- 
tion. 

Comedias  by  Lope  arc  likewise  found  in  certain  volumes  ot 
dramatic  works,  printed  separately,  in  addition  to  those  already 
cited,  and  in  various  collections  of  comedias  siieltas  which  are 
duly  mentioned  below. 

Bervs'een  1652  and  1704  there  appeared  at  Madrid  a  collec- 
tion of  Comedias  escogidas  which  reached  a  total  of  forty-eight 
volumes  or  Partes.  Works  by  Lope    are  contained  in  Paries  III, 


1.  As  this  volume  was  not  published  till  1657,  two  years  after  Lope's 
death,  Chorley  considers  that  Lope  was  probably  not  in  any  way  responsible 
for  the  title. 

2.  So  far  as  I  am  aware,  comments  Chorley,  the  Partes  exlravagaiUes, 
XXVI,  XXVII,  and  XXVIIl  do  not  exist  and  are  only  known  from  the  fact 
that  Fajardo  mentions  them  in  his  Index.  Some  fragments  of  them  are  (appar- 
entlyj  preserved  in  three  vols  (see  pp.  36-37)  formerly  in  the  Osuna 
Librarv  and  now  in  the  Biblioteca  Nacional. 


BIBLIOGRAPHY    OF    LOPE   DE  VEGA  5 

FI,  VII,  Fill,  X,  XF,  XFI,  XFIII,  XX,  XXF,  XXFIII, 
XXXFII,  XLII  and  XLIF. 

Lastly  we  know  of  autographs  and  manuscript  copies  of 
comedias  by  Lope  in  various  public  and  private  libraries,  and 
the  titles   of  these  are  embodied  in    the  present  Catalogue. 

This  has  been  completed,  as  far  as  possible,  by  means  of  the 
titles  of  comedias  printed  by  Lope  himself  in  the  two  editions  ol 
his  work  El  Peregrino  en  su  Patria,  due  use  being  made,  as  a 
last  resource,  of  the  Indice  general  alfabetico  de  las  Comedias  que  se 
venden  en  casa  de  los  herederos  de  Francisco  Medel  del  Castillo, 
printed  at  Madrid  in  1725,  and  the  Catalogo  alfabetico  del 
Teatro  Espahol,  printed  at  Madrid  by  don  Vicente  Garcia  de  la 
Huerta  in  1785. 

Appended  is  the  Key  to  the  abbreviations  used  to  denote,  as 
often  as  possible,  the  public  or  private  library  in  which  a  given 
volume  or  dramatic  work  exists,  or  the  writer  who  conveys 
information  concerning  it. 


KEY   TO  THE   ABBREVIATIONS 

Aguilar  =  Caspar  de  Aguilar. 

Alarcon  ^  Don  Juan  Ruiz  de  Alarcon  y  Mendoza. 

Barr.  =  Don  Cayetano  Alberto  de  la  Barrera,  Catalogo  hihliognifico  y  hio- 
grafico  del  Teatro  antigiio  espanol  desde  stis  origenes  hasta  mediados  del  Sigh 
XVIII.  Madrid,  i860. 

Belmonte  =  Luis  de  Belmonte. 

Bib.  Nac.  .-=  Biblioteca  Nacional  (Madrid). 

Brit.  Mus.  =  British  Museum. 

Calderon  =r  Don  Pedro  Calderon  de  la  Barca. 

Cancer  :=  Don  Jeronimo  Cancer. 

Cat.  Bib.  Nac.  =  Catalogo  de  Manuscrilos  de  Pie^as  de  Teatro  en  la  Billioteca 
Nacional  por  Antonio  Paz  y  Melia,  Madrid,  1 899 . 

C.  de  varios  :  1638  =  The  work  entitled  Doce  Comedias  de  Varies  Autores. 
Tortosa,  1638. 

Claramonte  =1  Andres  de  Claramonte. 

C.  N.  Amst.  =  Comedias  nuevas.  Amsterdam,  1726. 


HUGO    A.   RENNERT 


C.  N.  Barcel  :  1630  =  Doce  Comedias  niievas  de  Lope  de  Vega  y  otros.  Bar- 
celona, 1650. 

Cubillo  '-^  Don  Alvaro  Cubillo. 

Dif.  XXVIII,  etc.  =  Comedias  de  difereiiles  uiitores.  Parte  XXVIII,  etc. 

Duran  '  =  In  Agustin  Duran's  collection. 

Enciso  :^  Don  Diego  Jimenez  de  Enciso. 

Enrique/.  Gomez.  --^  Antonio  Enriquez  Gomez. 

Escog.  I,  II,  etc.  -^  Comedias  Escogidas  de  los  mejores  Itigenios  de  Espaiia, 
Parte  I,  II,  etc. 

Fajardo  =  =^  Juan  Isidro  Fajardo,  author  of  a  manuscript  ludice  de  Come- 
dias. 

Figueroas  ::=  Don  Diego  and  Don  Jose  de  Figueroa. 

Gayangos  3  :rr  In  Pascual  de  Gayangos's  collection. 

Godinez  =  Don  Felipe  Godinez. 

Gongora  --  Don  Luis  de  Gongora. 

Guevara  ^r:  Luis  Velez  de  Guevara. 

G.  y  Lope  :=:  Cuatro  Comedias  famosas   de  Gongora  y    Lope.  Madrid,  1617. 

(H.)  :=  Catalogue  of  Don  Vicente  Garcia  de  la  Huerta.  Madrid,  1785. 

H.  A.  R.  =  In  Hugo  Albert  Rennert's  collection. 

Holland  :^  In  Lord  Holland's  collection. 

Hoz  V  Mota  =z  Don  Juan  de  la  Hoz  y  Mota. 

Hurtado  de  Velarde  :=  Alfonso  Hurtado  de  Velarde. 

J.  R.  C.  <  =r  In  John  Rutter  Chorley's  collection. 

Labouchere  5  =^  In  Mr.  Henry  Labouchere's  collection . 


1 .  On  Duran's  death  in  1863  his  collection  was  bought  by  the  State,  and  is 
now  in  the  Biblioteca  Nacional,  Madrid . 

2 .  Chorley  notes  that  he  possessed  a  copy  of  Fajardo's  manuscript  Index, 
the  original  of  which  is  in  the  Biblioteca  Nacional.  This  Index,  he  says,  was 
compiled  at  .Madrid  in  1717,  and  professes  to  contain  the  titles  of  all  the 
comedias  in  Spanish  and  Portuguese  verse  printed  down  to  the  year  17 16. 

3.  On  Gayangos's  death  in  1897,  his  collection  was  bought  by  the  State, 
and  is  now  in  the  Biblioteca  Nacional,  Madrid. 

4.  Chorley's  collection  was  bequeathed  by  him  to  the  British  Museum. 

5.  Mr.  Henry  Labouchere,  born  August  15,  1798,  was  created  Baron 
Taunton  on  .\ugust  18,  1857  :  he  died  on  July  13,  1869.  His  library  con- 
tained the  most  complete  series  of  Lope's  comedias  known  to  Chorley  :  it 
included,  says  the  bibliographer,  all  the  Partes  hereafter  named,  except 
Parte  .XXIV  o(  .Madrid  1640.  Chorley  purposely  omitted  to  note  the  volumes 
of  Lope's  comedias    in   Lord  Holland's  collection,  as  all  of  them  were  in  the 


BIBLIOGRAPHY   OF    LOPE   DE  VEGA 


Laso  de  la  Vega  rrr  Gabriel  Lobo  Laso  de  la  Vega. 

Leyva  =  Don  Francisco  de  Leyva  Ramirez  de  Arellano. 

Lisboa  :  i6o}  .=:  Sets  ConietUas  de  Lope  de  Vega.  Lisboa,  per  Pedro  Cras- 
beeck,  1603 . 

Malaspina  =  Don  Francisco  Malaspina. 

Martinez  =r  Don  Antonio  Martinez. 

Matos  Fragoso  =  Don  Juan  de  Matos  Fragoso. 

Medel  =:  Indice  general  alfobetico  de  las  Comedias  que  se  vendeii  en  casa 
de  los  herederos  de  Francisco  Medel  del  Castillo.  Madrid,  1725. 

Mejia  de  la  Cerda  =  El  Licenciado  Mejia  de  la  Cerda. 

Mes.  Rom.  '  ^=  Don  Ramon  Mesonero  Romanos. 

British  Museum.  My  own  collection  lacks  only  Parte  XVI  and  three  plays  of 
Parte  XVIII  to  be  complete.  La  Barrera  appended  to  Chorley's  note  the  state- 
ment that  the  above-named  Parte  XXIV  was  in  the  Biblioteca  Nacional.  In 
the  revised  copy  Chorley  disputes  this;  quotes  Hartzenbusch  in  support  of  his 
view,  and,  on  the  authority  of  a  letter  from  Gayangos,  asserts  that  in  October 
1862  the  set  of  Lope's  comedias  in  the  Biblioteca  was  constituted  as  follow. 
The  Partes  preceded  by  an  asterisk  existed  in  duplicate. 

Madrid,  16 19. 

Madrid,   1620. 

Madrid,  1621. 

Madrid,  1621. 
I  [Absent  from  collection.] 

i 

Madrid.  1623. 
Valladolid,  1627. 
Barcelona,  1630. 
and  also  a  defective  copy 
of  this  Parte.] 
Madrid,  1635. 
i  Madrid,  1635. 
'  Zaragoza,  «  1635  ». 
^  Zaragoza,  1653. 
Madrid,  (?)  1621.  XXIV.        '  Zaragoza,  1641. 

XI.         Barcelona,  161 8.  XXV.  Zaragoza,  1647. 

Madrid,  1618. 
I.  See  the  bibliography  by  D.  Ramon  Mesonero  Romanos  in  the  second 
volume  of  Dramatkos  Contempordneos  a  Lope  de  Vega,  which  forms  the  forty, 
fifth  volume  of  the  Biblioteca  de  Autores  Espaiioles.  Chorley  condemns  this 
Catdlogo,  and  another  by  the  same  author  in  the  forty-seventh  volume  of  the 
Biblioteca,  as  being  of  no  value. 


*I 

Valladolid,  1609. 

*XII. 

'  Barcelona,  161 1. 

XIII. 

II. 

'  Madrid,  1618. 

*XIV. 

f  Barcelona,  1630. 

*xv. 

III. 

Barcelona,  1612. 

XVI. 

Madrid,  161  3. 

XVII. 

IV. 

Madrid,  1614. 

*XVIII. 

*v. 

Barcelona,  16 17. 

*XIX. 

VI. 

[Incomplete  :  the  title 

-page 

XX. 

and  four  plays  are  missing, 

•] 

VII. 

[Absent  from  the  collection, 

.]  XXI. 

*VIII. 

Barcelona.  1617. 

XXII. 

IX. 

Barcelona,  1618. 

XXII. 

X. 

Barcelona,  1618. 

XXIV. 

HUGO    A.    RENNERT 


Mira  de  Mescua  =  Don  Antonio  Mira  de  Mescua,  Amescua  6  Amezcua. 

Monroy  =r  Don  Cristdbal  dc  Monroy. 

Montalban  =  Don  Juan  Perez  de  Montalvan. 

Moreto  =^  Don  Agustin  Moreto  y  Cavana. 

Olozaga  --  In.Sr.  D.  Salustiano  de  016zagas's  collection. 

Osuna  —  In  the  Duke  of  Osuna's  library. 

P.  ^.:  In  the  list  of  conicJias  which  figures  in  the  first  edition  of  the  Pere- 
^'lino  eiisii  Patria,  Sevilla,  1604,  and  Madrid,  1604, 

P-.  =  In  the  list  o{  coniedias  which  figures  in  the  sixth  edition  of  the  Pere- 
grino  en  su  Patria,  Madrid,  1618. 

Pidal  -:  In  the  Marques  de  Pidal's  collection. 

Relacion  de  las  Fiestas,  etc.  =  Relacion  de  las  Fiestas  que  la  Villa  de 
.Madrid  hizo  en  la  canonizacion  de  san  Isidro.  Madrid,  1622. 

Ravon  =  In  the  library  of  D.  Jose  Sancho  Rayon. 

Restori  =  See  Zeitschrifl . 

Rojas.  r=z  Don  Francisco  de  Rojas  Zorrilla. 

Rubi  =  In  D.  Tomas  Rodriguez  Rubi's  collection. 

S.  =  Suelta. 

Salucio  del  Povo.  ^:  Damian  Salustrio,  or  Salustio,  or  Salucio,  del    Povo. 

Salva  :=  Catalogo  de  la  Biblioteca  deSalva,  2  vols.,  Valencia,  1872. 

Schack  =  Schack,  Geschichte  der  dramatischen  Literatur  iciid  Kunst  in  Spa- 
uien,  Frankfurt-am-Main,  1845-46,  and  with  Nachtrci^e,  1854. 

Suelta  :  Arlington  =  In  Lord  Arlington's  collection  of  comedias  sueltas 
(Brit.  Mus.). 

Tarrega  =  El  Canonigo  Francisco  de  Tarrega. 

Ticknor  =  Ticknor's  History  of  Spanish  Literature.  Boston,  1888. 

Tirso  =  Tirso  de  Molina  (Frey  Gabriel  Tellez) . 

Valdivielso  =  El  Maestro  Jose  de  Valdivielso. 

Vega  del  P.  m  Forms  part  of  the  Vega  del  Paniaso.  Madrid,  1637. 

Vienna   —  In  the  Imperial  Library  at  Vienna. 

Villaviciosa  =  Don  Sebastian  de  Villaviciosa. 

Villegas  :^  Juan  Bautista  de  Villegas. 

Zl/l  :^  Zeitschrifl  fur  romanische  Philologie,  the  very  important  reviews  bv 
Prof.  Restori . 

Plays  marked  -|-  are  known  to  be  by  an  author  other  than  Lope. 

Plajs  marked  X  contain  no  figura  del  donayre,  and  consequently  they  may 
be  regarded  (for  the  most  part,  at  all  events)  as  dating  from  before  1600. 


BIBLIOGRAPHY    OF    LOPE   DE   VEGA 


CATALOGUE   OF    COMEDIAS 

COMEDIAS   PUBLISHED  COLLECTIVELY,   OR     lOUND 
IN  COLLECTIONS   KNOWN  TO  US 
SEIS  COMEDIAS  DE  LOPE  DE  VEGA   ' 


En  Lisboa,  per  Pedro  Crasbeeck,  1603,  a  costa  de   Francisco 
Lopez  -. 


1.  A  copy  of  this  edition,  formerly  in  Chorley's  possession,  is  now  in  the 
British  Museum  Library.  For  a  description  of  the  volume  see  Life  of  Lope  de 
Vega,  pp. 156,  157  and  n. 

2.  Schack,  Nachtrdge,  40.  Lope,  in  the  preface  to  the  Pei-egrino,  stated  that 
this  volume  was  printed  in  Castile,  and  [warned  readers  against  believing  that 
these  coinedias  were  his,  though  thev  bore  his  name.  The  last,  Carlos  el  Per- 
seguido  is  his,  though  probably  corrupt.  [Barr.]. 

According  to  a  letter  to  Chorley  from  Ticknor,  dated  November  5,  1857, 
there  exists  in  the  Ambrosian  Library  at  Milan  an  edition  with  the  same  title 
and  contents,  except  that  the  title-page  reads  :  Con  licencia  de  la  Santa  Inquisi- 
cion  y  Or dinario.  En  Madrid.  Impreso  por  Pedro  Madrigal.  Aiio  1603,  v.  Life 
of  Lope,  p.  157. 

It  may  be  supposed  that  there  was  only  one  edition,  some  copies  with  the 
true  indication  of  place  and  printer,  and  others  with  a  false  indication  of  the 
same.  [Hartzenbusch].  In  Quaritch's  Bihliotheca  Hispana,  London,  1895,  a 
copy  of  the  edition  of  Madrid  1603,  is  described  as  follows  : 

No.  1439  •  —  ^^^^  Coniedias  de  Lope  de  Vega  Carpio,  y  de  otros  avtores  cvios 
nombres  dellos son  estos  :   i.  De  la  destruicion  deConstantinopla.  2.  De  la  fun- 

dacion  de  la  Alhambra 3.  De  los  amigos  enojados.  4.  De  la  libertad  de 

Castilla.  5.  Delas  hazanas  del  Cid.  6.  Del  perseguido Con  licencia...   En 

Madrid,  Impresso  por  Pedro  Madrigal Ano  MDCIII.  The  catalogue  states 

further :  The  names  of  the  writers  besides  Lope  are  not  given  in  the  book  ; 
but  No.  6  is  the  Carlos  el  Perseguido  of  Lope  (v.'ith  numerous  passages  in  the 
text  which  were  altered  in  the  edition  of  1604).  —  No.  4.  «  Comedia  de  la 
libertad  de  Castilla  por  el  Conde  Fernan  Goncalez,  en  lengua  antigua  »  is 
not  the  play  of  the  same  name  by  Lope,  but  totally  distinct.  —  N".  5 .  «  Ha- 
zafias  del  Cid  y  su  Muerte  con  la  tomada  de  Valencia  »,  is  not  the  second  Cid 


10  HUGO    A.    RENNERT 


This  book  contains  the  following  Coniedias  : 

La  Destruicion  de  Constantinopla. 

[Not  by  Lope  but  by  Laso  de  la  \'^ega.J 

La  Fundacion  de  la  Alhambra  de  Granada  '. 

La  Libertad  de  Castilla  por  el  Conde  Fernan  Goncales  - 
[Hn  lengua  antigua.] 

Las  Hacanas  del  Cid  y  su  Muerte,  con  la  Tomada  de  Valen- 
cia. 

Los  Amigos  enojados  y  verdadera  Amistad  -. 

X  El  Perseguido.  (P.) 
[This  appears  in  Part  I  of  the  Coniedias  of  Lope.] 

comedias  de  lope  de  vega 
(partes  i-xxv)  1604-47. 

PARTE   M 

Valencia  :  1604  (Schack) 

Valladolid  :  1604,  por  Luys  Sanchez.  Vendense  en  casa  de 
Alonso  Perez  (Brit.  Mus.;  J.  R.  C;  H.  A.  R.).  The  Aproiiacion 
is  dated  :  En  Valladolid,  a  17  de  Febrero  de  1604.  My  copy 
also  contains  eleven  loas,  but  no  entremeses. 


comedy  of  Guillen  de  Castro.  The  book  consists  of  title  and  leaves  numbered 
1-272  ».  The  comedia.  N"  5  has  since  been  republished  by  A.  Hamel  (Halle, 
1910),  from  a  copy  of  the  edition  of  Madrid  in  the  Municipal  Library  at  Ham- 
burg. 

1.  These  plays  arc  almost  certainly  not  by  Lope,  and  belong  to  an  earlier 
period  [Chorley]. 

2.  Published  by  A.  Hamel  in  Beiheft  XXV,  of  Zcit.  1910. 

5.  Chorley  considers  the  authenticity  of  this  piece  to  be  doubtful.  See  Life 
of  Lope  de  Vega,  p.  1 5  7,  h  . 

.}.  Some  editions  (ex.  gr.  the  Valencian  edition  of  1605)  begin  with  the 
seventh  piece,  Ursou  y  Vakniin,  and  so  on  to  the  twelfth,  then  continuing 
with  the  first  play,  El  Malice,  and  finishing  with  El  Hijo  de  Redmn . 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  I  I 

Madrid:  i6o4(Labouchere). 

Zaragoza  :  1604,  por  Angelo  Tauano.  Salva  (I,  536)  says  that 
Duran  possessed  a  copy  of  this  edition  with  a  «  liccncia  dc  Zara- 
goza a  15  de  Octubre  de  1603  ».  Schack  mentions  this  edition. 
Copy  in  Brit.  Mus. 

Valencia  :  1605,  en  casa  dc  Caspar  Leget  (Labouchere  ;  J.  R. 
C.  ;  Brit.  Mus.;  Munich).  Salva,  I,  536;  Restori,  Studj,  7.  The 
aprobacion  of  this  ed.  is  dated  :  En  Valencia,  a  10  de  Nouiembre 
de  1604.  Z///.,  XXXVI,  677.  It  contains  the  Enlremeses  and 
Loas. 

Valladolid  :  1605,  por  Juan  de  Bostillo.  Vendense  en  casa  de 
Alonso  Perez  y  Antonio  Cuello  (Barrera). 

Lisboa  (?)  :  1605,  por  Jorge  Rodriguez.  Anno  de  1605.  A 
custa  de  Esteuao  Lopez  mercader  de  Liuros,  vendesse  em  sua 
casa  et  na  Capella  del  Rey.  Restori,  Ztft.,  XXX,  226  {aparte, 
p.  174). 

Amberes  :  1607  (Schack;  Brit.  Mus.;  J.  R.  C. ;  H.  A.  R.). 

Valencia  :  1609  (Brit.  Mus.  (?).  I  do  not  find  it  in  the  Cata- 
logue). 

Valladolid  :  1609,  por  Juan  de  Bostillo  (Brit.  Mus.;  Lab.; 
Univ.  of  Madrid;  Bib.  Nac. ;  J.  R.  C. ;  H.  A.  R.).  This  volume 
contains  twelve  has  and  twelve  entremeses.  The  aproiiacion  is 
dated  :  Valladolid  a  17  de  Febrero  de  1604  ;  the  tassa  :  Madrid 
a  24  de  lulio  de  1609. 

Bruselas  :  1611  (v.  Dieze's  translation  of  Velazquez, 
p.  331,  w.). 

Milan  :  1619,  a  costa  de  luan  Baptista  Bidelli  Librero.  (J.  R. 
C;  H.  A.  R.)  «  Questa  del  Bidelli  piuche  una  nuova  edlzione  e 
una  brutta  e  scorretta  contrafiazione  di  quella  di  Amberes, 
Martin  Nucio,  1607.  »  Restori. 

Zaragoza:  1624, por  Juan  de  Larumbe  (?).  Stiefel,  Ztft.,  XV, 
223,  admits  the  possibility  of  this  edition. 

Zaragoza  :  1626,  por  Juan  de  Larumbe  (Ticknor). 


12  HUGO  A.    RENNERT 


COMEDIAS  IN   PARTE  I 

X  Los  Donayres  de  Matico.     P.  (El  Matico.) 

X  Carlos  el  PerseguiJo  [It  is  called  :  Comedia  del  Perseguido 
in  the  ed.  of  Valladolid,   1604].  (el  Perseguido.  P.) 

X  El  Cerco  de  Santa  Fe  e  ilustre  Hazana  de  Garcilaso  de  la 
Vega  (P.  Garcilaso  de  la  Vega). 

X  Comedia  de  Bamba  (P.  El  Rey  Bamba). 

X  La  Travcion  bien  accrtada.     P. 

X  El  Hijo  dc  Reduan. 

X  Urson  V  \'alentin,  Hiios  del  Rey  de  Francia.     P. 

X  El  Casamiento  en  la  Muertc  (y  Hcchos  de  Bernardo  del 
Carpio).     P  -. 

X  La  Escolastica  zelosa.     P. 

X  La  Amistad  pagada.     P^ 

X  La  Comedia  del  Molino. 

X  El  Testimonio  vcngado. 

The  various  editions  of  Parte  I  differ  as  regards  the  loas  and 
entrenieses.  I  believe  that  all  the  editions  contain  the  eleven  loas 
at  the  beginning.  The  editions  of  Valladolid,  160-),  Amberes 
1607,  Milan  i6i9and  Zaragoza  1626  contain  no  entrenieses.  The 
ed.  of  Valencia  1605  lacks  some  of  the  entrenieses,  while  in  the 
ed.  of  \'alladolid  1609  they  are  at  the  end  of  the  volume. 

PARTE  II  ^ 

Madrid  :  1609,  por  Alonso  Martin  (Brit.  Mus.  and  Labou- 
chere). 


I.  There  is  a  volume  noted  in  Graessc,  Tre'sor,  which  is  not  mentioned  by 
•any  other  bibliographer.  It  may  be  this  Parte  II  of  Lope.  It  is  entitled  :  Dcce 
Ijoas,  doce  Comedias  y  doce  enlrenuses  de  Lope  de  Vega.  Milan,  161 7,  8° 
(Caldlogo  de  Rodriguez).  It  seems  more  likely,  however,  that  this  may  be 
an  edition  of  Parte  I,  with  the  entrenieses. 


BIBLIOGRAPHY    OF    LOPE    DE  VEGA  1 3 

Valladolid:  1609  (Schack). 

Pamplona  :  1609. 

Madrid  :  1610  (Barr.).  This  ed.  is  not  mentioned  by  Perez 
Pastor,  Bibl.  Madrikha,  II. 

Valladolid  :  161 1  (Labouchere). 

Barcelona  :  1611  (Brit.  Mus.;  Labouchere;  Univ.  of  Madrid, 
and  Chorley). 

Bruselas  :  1611  (Schack;  Salva  and  J.  R.  C). 

Amberes  :  1611  (Brit.  Mus. ;  H.  A.  R.).  Of  this  ed.  there  are 
two  copies  in  the  Brit.  Mus.,  one  marked  :  Amberes,  1611  ; 
the  other  Antwerpias,  1611.  They  are  identical  with  the  Brus- 
sels ed.,  all  having  the  colophon  :  Antverpiae.  Excudebat 
Andreas  Bacx,  161 1. 

Lisboa  :  1612  (Salva,  I,  p.  537). 

Madrid  :  1618,  por  Juan  de  la  Cuesta  (Brit.  Mus.;  Labou- 
chere; H.  A.  R.). 

Madrid  :  1621,  por  la  viuda  de  Alonso  Perez  de  Montalvan. 
Restori,  Z/// . ,  XXX,  226. 

Madrid  :  1621,  por  la  viuda  de  Alonso  Martin.  Cited  by 
Restori,  Ancora  di  Genova  nel  Teatro  classico  di  Spagna,  Genova, 
1913,  p.  15,  n. 

Barcelona  :  1630  (Bib.  Nac). 

COMEDIAS    IN  PART   II 

X  La  Fuerza  lastimosa.     P. 
X  La  Ocasion  perdida.     P. 
El  gallardo  Catalan  (P.  El  Catalan  valeroso). 
X  El  Mayorazgo  dudoso.     P. 

X  La  Resistencia  honrada  y  Condesa  Matilde(?  P.  La  Con- 
desa). 

Los  Comendadores  de  Cordoba  (P.  Los  Comendadores). 
X  La  Bella  mal  maridada.     P. 
X  Los  tres  Diamantes.     P. 


14  HUGO    A.    REXNERT 


X  La  Quinta  de  Florencia  [P.  and  P-.  under  the  title  El  Pri- 
mero  Medicis]. 

X  Kl  Padrino  desposado.     P.  and  P-. 
X  Las  Ferias  de  Madrid.     P. 

PARTE  III 

Pnrti'  tcrccra  de  las  Comedias  de  Lope  de  Vega  y  otros  Aulores  con 
siis  Loas  y  Enlremeses  '. 

\'alencia  :  1611  ?  Salva,  I,  p.  538. 

Sevilla  :  1613  or  1612?  Salva,  I,  p.  538. 

Barcelona  :  1612,  por  Sebastian  de  Cormellas,  al  Call.  (Bibl, 
Kac.) 

Madrid:  161 3,  por  Miguel  Serrano  de  Vargas,  a  Costa  de 
Miguel  Martinez.  The  tasa  is  dated  :  Madrid,  June  12,  161 3 
(Brit.  Mus.  ;  Vienna;  Labouchere;  J.  R.  C.  ;  Bib.  Nac. ;  Univ. 
of  Madrid.  I  possess  a  fragment  of  this  edition).  For  a  descrip- 
tion see  Perez  Pastor.  Bibl.  Madrihha,  II,  n°.  1256,  and  Salva, 
/.  c. 

Barcelona  :  1614  (Brit.  Mus. ;  Salva  ;  Labouchere). 

COMEDIAS    IN  PART  III 

Los  Hijos  de  la  Barbuda  [by  Guevara]. 


I.  This  Third  Part  and  the  Fifth,  ahhough  generally  included  in  the 
scries  of  Lope's  Comedias,  seem  to  belong  to  the  series  of  Comedias  de  difereutes 
Aulores . 

Baron  von  MOuch-Bellinghauscn,  in  the  work  entitled  Ueber  die  aelleren 
Sammlutigeii  S/yanisiher  Draiiieti,  Vienna,  1852,  p.  133,  conjectures  that  this 
Third  Part  was  printed  before  161 3,  perhaps  in  Seville,  or  more  probabl\  at 
Valencia.  These  doubts  are  cleared  up  by  my  discovery  of  a  Barcelona  edi- 
tion (Sebastian  de  Cormellas,  1612)  which  contains  the  original  Aprobacion 
of  the  book,  given  in  Valencia  by  Dr.  Caspar  Ercolano  in  the  previous  vear. 
Was  there,  by  chance,  another  edition  of  Valencia,  161 1?  (Barr.J  See  the 
reference  to  Salva,  above. 


BIBLIOGRAPHY    Ol-    LOPE    DE    VEGA  1 5 

La  aduersa  Fortuna  del  Cauallero  del  Spiritu  Santo  [by 
Grajal]. 

El  Espejo  del  Mundo  [by  Guevara]. 

1.  La  Noche  Toledana  [by  LopeJ.     P^. 

La  Tragedia  de  dona  Ynes  de  Castro  [by  Mejia  de  la  Cerda]. 

2.  Las  Mudan^as  de  Fortuna  y  Sucessos  de  don  Beltran  de 
Aragon  [by  Lope].     P-.  D.  Beltran  de  Aragon. 

La  Priuanca  y  Caida  de  don  Aluaro  de  Luna  [by  Salucio  del 
PoyoJ. 

La  prospera  Fortuna  del  Cauallero  del  Spiritu  Santo  [by  Gra- 
jal]. 

El  Esclauo  del  Demonio  [by  Mira  de  Mescua]. 

La  prospera  Fortuna  de  Ruy  Lopez  de  Aualos  [by  Salucio  del 
Poyo]. 

La  adversa  Fortuna  de  Ruy  Lopez  de  Aualos.        Idem. 

3 .  Vida  y  Muerte  del  santo  Negro  llamado  san  Benedito  de 
Palermo  (El  Santo  Negro  Rosambuco).  [by  Lope].  P\  With  five 
has  and  three  entremeses. 

PARTE  IV 

Madrid  :  1614,  por  Miguel  Serrano  de  Vargas  (Brit.  Mus.  ; 
Labouchere  ;  Parma  ;  Bib.Nac).  v.  Bibl.  Madrileha,  II,  n°.  1309. 

Barcelona  :  16 14  (Brit.  Mus.,  and  J.  R.  C). 

Pamplona  :  i6i4(Brit.  Mus.;  Labouchere;  Univ.  of  Madrid; 
H.  A.  R.); 

COMEDIAS  IN   PART  IV 

X  Laura  perseguida.     P. 

X  El  Nueuo  Mundo  descubierto  por  Colon  (?  P.  El  Nueuo 
Mundo). 

El  Asalto  de  Mastrique  por  el  Principe  de  Parma.  P-.  (El 
Asaltode  Mastrique). 

Peribailez  y  el  Comendador  de  Ocana .     P- . 


1 6  HUGO    A.    RENNERT 


El  Genoues  liberal.     P' . 

X  Los  Torneos  de  Aragon .      P . 

La  Boda  cntrc  dos  Maridos.      P- . 

X  El  Amigo  por  Fuerca .      P . 

X  El  galan  Caslrucho .     (P.  El  Rutian  Castrucho.) 

X  Los  Embustes  de  Zelauro.     (P.  Los  Enredos  de  Zelauro). 

X  La  Fe  rompida .     P . 

X  El  Tirano  castigado .      P .  and  P' . 

PARTE  V  (Supposititious.) 

Flor  de  las  Coniedias  de  Espana  de  diferentes  Autores. 

Madrid  :  1615  (Salva,  I,  p.  539).  Perez  Pastor,  Bibl.  Mad.,  II, 
n".  1377,  doubts  the  existence  of  this  edition,  v.  also  Miinch- 
Bellinghausen,  Ueber  die  aelteren  Saiiinilufigen  spanischer  Drainen, 
p.    133. 

Alcald  :  r6i  5  (Labouchereand  J.  R.  C). 

Madrid  :  161 6.  There  is  no  copy  in  the  Brit.  Mus.  and 
Perez  Pastor  likewise  doubts  the  existence  of  a  Madrid  ed  of 
1 616.  Bibl.  Mad.,  n°.    1439. 

Barcelona  :  1616  (Brit.  Mus.  ;  Salva  ;  Univ.  of  Madrid). 

Barcelona  :  16 17  (according  to  Gayangos,  there  was  a  copy 
of  this  edition  in  the  Bib.  Nac). 

[Each  Comedia  is  preceded  by  a  /oaand  a  hailc] 

COMEDIAS  IN  PART  V 

I .  El  lixemplo  de  Casadas  y  Prueba  de  la  Paciencia  [by 
Lope  J. 

Las  Desgracias  del  Rey  don  Alfonso  el  Casto  [by  Mira  de 
MescuaJ. 

La  Tragedia  de  los  Siete  Infantes  de  Lara  [by  Hurtado  de 
Velarde]. 

El  Bastardo  de  Ceuta  [by  Grajales]. 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  1 7 

La  Venganza  [by  Aguilar]. 

La  Hermosura  dc  Raquel  [Parte  Primera  y  Parte  Segunda, 
by  Luis  Velez  de  Guevara]. 

El  Premio  de  las  Letras  por  Felipe  II  [by  Salucio  del  Poyo]. 

La  Guarda  cuidadosa  [by  Miguel  Sanchez  :  republished  by 
me,  Philadelphia,  1896]. 

El  Loco  cuerdo  [by  Valdivielso]. 

La  Rueda  de  la  Fortuna  [by  Mira  de  Mescua]. 

La  Enemiga  favorable  [by  Tarrega]'. 


I.  In  reference  to  this  Fifth  Part,  Barrera  adds  the  following  note  : «  Accord- 
ing to  Fajardo,  there  was  printed  at  Seville  a  Oiiiuta  Parte  de  Comedias  dc  Lope, 
containing  the  pieces  : 

1.  El  Amor  enamorado. 

2.  Las  Bizarrias  de  Belisa. 
La  Historia  de  Mazagatos. 

3.  El  Desprecio  agradecido. 

-\-  El  Animal  profeta,  San  Julian. 

4.  El  Guante  de  Dona  Blanca. 

El  Gran  Cardenal  de  Espana,  don  Pedro  Gonzalez  de  Mendoza. 

5.  La  mayor  Vitoria  de  Alemania. 

6.  La  mayor  Virtud  de  un  Rey. 
Nardo  Antonio,  Bandolero . 

7.  Porfiando  vence  Amor. 

8.  Si  no  vieran  las  Mugeres. 

La  Barrera  refers  to  this  Part  five  other  pla\-s  by  diflerent  authors.  Upon 
this  Hartzenbusch  remarks  that  as  volumes  of  Comedias  usually  contain 
twelve  pieces,  it  seems  strange  that  this  volume  should  contain  seventeen.  See 
Comedias  escogidas  de  Lope  de  Ve^a,  vol.  IV,  p.  538  ti.  (Bibl.  de  Autores  Espa- 
iloh's) , 

In  a  note  Chorley  observes  that  La  Barrera  is  mistaken .  «  The  eight  plays 
numbered  i...  8  (which  are  given  in  the  Vega  del  Parnasd)  are  thus  cited  by 
Fajardo  :  «  En  Parte  Quinta  de  Madrid  »  ;  or  :  «  En  su  Parte  Quinta  ».  Only 
El  Animal  Profeta,  which  is  generally  ascribed  to  Mira  de  Mescua,  is  given 
by  Fajardo  as  suelta  en  Sevilla.  I  have  a  snelta  of  this  plav  (printed,  appar- 
ently, during  the  first  half  of  the  eighteenth  century)  in  which  it  is  ascribed 
to  Lope,  and  to  whom,  in  the  opinion  of  Menendez  y  Pelayo,  it  rightfully 
belongs. 

REVUE    HISPAMIQUE.    G.  2 


1 8  HUGO    A.    RENNERT 


PARTE  VI 

Madrid  :  1615  (Labouchere;  Bib.  Nac,  and  J.  R.  C),  v. 
BibJ.  Mad.,  n°  1378. 

Madrid  :  161 6  (Brit.  Mus.  ;  Labouchere ;  J.  R.  C,  and 
Univ.  of  Madrid),  v.  Bibl.  Madri!ena,n°.  1440.  The  two  copies 
in  tlic  Brit.  Mus.  lack  the  title-page. 

Barcelona  :  1616  (Salva,  I,  p.  539;  H.  A.  R.). 

COMEDIAS  IN   PART  VI 

La  Batalla  del  Honor .     P- . 

La  Obediencia  laureada  y  primer  Carlos  de  Ungria.      P-. 

El  Hombre  de  bien .     P^ . 

El  Seruir  con  mala  Estrella.      P- . 

El  Cuerdo  en  su  Casa.     P' . 

La  Reyna  Juana  deNapoles. 

El  Duque  de  Viseo .      P- . 

El  Sccretario  de  si  mismo .     P^ . 

El  Uegar  en  ocasion .      P' . 

El  Testigo  contra  si .     P- . 

El  Marmol  de  Felisardo.     P. 

El  mejor  Maestro  el  Tiempo. 

PARTE    VII 

Madrid  :  16 17  (Brit.  Mus.  ;  Labouchere  and  Univ.  of 
Madrid),  v  .   Bibl.  Mad . ,  n°.    1 5 11  . 

Barcelona:  1617  (Brit.  Mus.  ;  Labouchere ;  J .  R.  C,  and 
H.  A.  R.). 

COMEDIAS  IN    PART    VII 

El  \'illano  en  su  Rincon  .      P^. 
El  Castigo  del  Discreto.      P-. 


BIBLIOGRAPHY    OF    LOPE   DE   VEGA  1 9 

X  Las  Probezas  de  Reinaldos.     P. 

El  gran  Duque  de  Moscovia,  y  Emperador  perseguido.     P^ 
Las  Pazes  de  los  Reyes  y  Judia  de  Toledo .     P- . 
Los  Porceles  de  Murcia .     P"^ . 
La  Hermosura  aborrecida .     P- . 
El  Primo  Faxardo  (?P.   Los  Faxardos). 
Viuda,  casada  y  doncella .      P^ . 
X  El  Principe  despeiiado  (?  P.  El  Despenado). 
La  Serrana  de  la  Vera.     P. 
San  Isidro  labrador  de  Madrid .     P'^ . 

[The  volume  ends  with  four  loas,  three  entremescs  and  three 
haihs.^ 


PARTE  VIII 

Madrid  :  1617  (Brit.  Mus.  and  Univ.  of  Madrid),  v.  Bibl. 
Mad.  II,  n°.  15 12. 

Barcelona  :  161 7  (Labouchere,  J.  R.  C,  Bib.  Nac,  H. 
A.  R.). 

COMEDIAS  IN    PART  VIII 

El  Despertar  a  quien  duerme .     P\ 

El  Anzuelo  de  Fenisa.      P-. 

X  Los  Locos  por  el  Cielo .     P . 

El  mas  galan  Portugues,  Duque  de  Berganza. 

X  El  Argel  fingido  y  Renegado  de  Amor.  P.  (MS.  Brit. 
Mus.). 

El  postrer  Godo  de  Espana  (Also  in  Parte  XXV  under  the 
title  :  El  ultimo  Godo) .     P^ . 

X  La  Prision  sin  Culpa .     P . 

X  El  Esclavo  de  Roma .     P . 


20  HUGO    A.    REKNERT 


X  La  Imperial  de  Oton  ' . 
El  Vaquero  de  Morana  - .      P .  and  P- . 
X  Angeliai  en  el  Catay  - .     P . 
X  El  Nino  inocente  de  la  Guardia.     P^ 
(The  volume  ends  with  three  entremeses,  four   has  and  three 
bailt's]. 

PARTE    IX 

Madrid  :  1617  (Brit.  Mus.  ;  Labouchere;  J.   R.  C.  ;  Bib.    de 
San  Isidro),v.  Bibl.  Mad.,  n".  15 13. 

Madrid  :  1618  (Schack). 

Barcelona  :  1 618 (Brit.    Mus.;  Labouchere;  J.  R.   C.  ;  Bib. 
Nac.  ;  H.  A.  R.). 

N .  B .    This  volume  is  the  first  issued  by  Lope  himself . 

COMEDIAS  IN    PART  IX 

La  Prueba  de  los  Ingenios .     P- . 

La   Doncella  Teodor.      P^. 

El  Amete  de  Toledo .     P- . 

El  Auscnte  en  el  Lugar.     P-. 

La  Nina  de  Plata.     P-. 

El  Animal  de  Ungria.     P-. 

Del  Mai  lo  menos .     P- . 

X  La  hermosa  Alfreda.      P.  (Hermosura  de  Alfreda.) 

Los  Ponces  de  Barcelona .      P- . 

X  La  Varona  ca.stellana.      P. 

La  Dama  hoba .      P' . 

Los  Mclindres  de  Belisa.     P^ . 


1 .  Tliough  not  given  in  P.  tiicrc  is  no  i^racioso  in  this  plav. 

2.  These  plays  arc  missing  in  Nicolas  Antonio's  list,  and  in  the  list   copied 
from  Antonio  bv  Schack. 


BIBLIOGRAPHY    OF    LOPE   DE   VEGA  21 

PARTE   X 

Madrid  :  1618  (J.  R.  C.  ;  Labouchere ;  Univ.  of  Madrid  ; 
Bib.  Nac),  v.  Bibl.  Machileha,  II,  n°  1576. 

Barcelona  :  161 8  (Brit.  Mus.  ;  Labouchere;  Bib.  Nac.  ;  H. 
A.  R.). 

Madrid  :  1620  (Brit.  Mus.). 

Madrid  :  1621  (Bib.  Nac.  This  is  given  on  the  authority  of 
a  letter  fromGayangos  to  Chorley.  See  also  Salva,  I,  p.  541  ). 

COMEDIAS   IN   PART  X 

El  Galan  de  la  Memhrilla.  P-.  (Autog.  MS.  Brit.  Mus., 
1615). 

La  Venganza  venturosa.     P-. 

Don  Lope  de  Cardona .     P- . 

La  Humildad  y  la  Soberbia.  P-.  [This  is  the  title  in  the  Tahla  ; 
in  the  text  the  title  reads  :  Triunfo  de  la  Humildad,  y  Soberbia 
abatidd] . 

El  Amante  agradecido . 

Los  Guanches  de  Tenerife,  y  conquista  de  Canaria .      P' . 

La  Octava  Maravilla .      P- . 

El  Senbrar  en  buena  Tierra .     P- . 

El  Blasonde  los  Chaves  de  Villalba.     P. 

Juan  de  Dios  y  Anton  Martin     (P^.   S.  Juan  de  Dios). 

La  Burgalesa  de  Lerma .     P- . 

El  Poder  vencido  y  el  Amor  premiado .     P- . 

PARTE  XI 

Madrid  :  1618  (Labouchere  ;  Univ.  of  Madrid  ;  Bib.  Nac), 
V.  Bibl.  Madrileha,  n°.  1577.  There  were  two  issues  of  this 
Part  at  Madrid,  161 8  '. 

I .  P^rez  Pastor  says  :  «  Suponemos  que  las  dichas  Partes  se  imprimirian  una 
en  casa  de  Juan  de  la  Cuestay  otra  por  la  viuda  de  Alonso  Martin.  »  Ibid., 


HUGO   A.    RENNERT 


Barcelona:  1618  (Brit.  Mus.;  Labouchere;  J .  R.  C;  Bib. 
Nac;  H.  A.  R.). 

COMEDIAS  IN   PART  XI 

El  Perro  del  Hortelano.     P-. 

El  Azero  de  Madrid.      P- . 

Las  dos  Estrellas  trocadas,  y  Ramilletes  de  Madrid .  P- . 
[So  in  the  Tnhla .  In  the  play  :  Comedia  famosa  de  Los  Rami- 
lletes de  Madrid]. 

Obras  son  Amores .     P- . 

Servir  a  Seiior  discreto.      P^ 

El  Principe  perfeto,  parte  primera  [The  Parle  Sei^inida  is  in 
Part  XVIII]. 

El  Amigo  hasta  la  Muerte.      P''. 

La  Locura  por  la  Honra.      P- . 

El  Mayordomo  de  la  Duquesa  de  Amalfi .      P- . 

El  Arenal  de  Sevilla.      P. 

La  Fortuna  merecida. 

X  La  Tragedia  del  Rey  don  Sebastian,  y  Bautismo  del 
Principe  de  Marruecos  (P.  ?  El  Principe  de  Marruecos). 

PARTE  XII  ' 

Madrid  :  1619  (Brit.  Mus.  ;  J.  R.  C.  ;  Labouchere;  Univ. 
of  Madrid;  Bib.  Nac;  H.  A.   R.). 

p.  469.  But  the  «  libro  de  la  Hermandad  de  impresores  de  Madrid,  »  mentions 
the  «  11"  y  I2»  partes  de  Comedias,  de  dos  impresiones  ».  As  both  Parts,  XI 
and  XII  of  the  edition  of  Madrid  give  only  the  «  viuda  de  Alonso  Martin  »  as 
the  printer,  it  is  probable  that  Part  XI,  like  Part  XII,  was  printed  in 
part  by  both  printers,  Juan  dc  la  Cucsta  and  the  widow  Alonso  Martin.  See 
below,  Part  XII. 

I.  There  were  two  distinct  issues  of  this  Part  in  this  yciw  :  see  Salva,  I, 
p.  542.  My  copy  is  of  the  second  issue,  described  by  Perez  Pastor,  Bibl.  Mad., 
n°.  i6j9,  of  which  he  says :  «  Edicion  igual  a  la  anterior  y  hecha  por  mitad  con 
la  Parteonzena  en  casa  de  Juan  de  la  Cuesta  \'  de  la  viuda  de  Alonso  Mar- 
tin.   « 


BIBLIOGRAPHY    OF    LOPE   DE   VEGA  2} 

COMEDIAS  IN  PART  XII 

Ello  dira.     P^ 
La  Sortija  del  Olvido .      P^ . 
Los  Enemigos  en  Casa .     P' . 
La  Cortesia  de  Espana .     P- . 
Al  passar  del  Arroyo  •     P- . 
X  El  Marques  de  Mantua .      P . 
Los  Hidalgos  de  la  Aldea.      P-. 

Las  Flores  de  Don  Juan  y  Rico  y  Pobre  trocados .      P- . 
Lo  que  hay  que  fiar  del  Mundo .     P- . 
La  Firmeza  en  la  Desdicha.     P-. 

La  desdichada  Estefania  [This  is  the  Parte  primera  :  the  Parte 
segunda  is  El  Pleyto  por  la  Honra]. 
Fuente  Ovejuna.     P^ . 

PARTE  XIII 

Madrid  :  1620  '  (Brit.    Mus.  ;  Labouchere  ;  J.  R.    C.  ;  Bib. 
Nac,    H.  A.   R.). 

Barcelona  :  1620  (Brit.  Mus.,  G.  R.  C). 

COMEDIAS  IN  PART  XIII 

La  Arcadia.     P^. 

El  Halcon  de  Federico.    P-. 


I.  See  Bihl.  Mad.  I,  no.  1704.  «  Primera  edicidn,  que  se  hizo  por  mitad  en 
las  Imprentas  de  Juan  de  la  Cuesta  y  de  la  viuda  de  Alonso  Martin,  scgiin  pro- 
h^imos  en  e[  Proceso  de  Lope  de  Vega  por  lihclos  contra  iinos  comicos,  pags.  286  a 
288.  ))  In  this  Part,  for  the  first  time,  each  separate  play  is  dedicated  to  a  differ- 
ent person  instead  of  the  whole  volume  being  (as  heretofore)  dedicated  col- 
lectively to  one  person.  Lope  continued  this  new  practice  of  individual  dedi- 
cation inall  the  remaining  volumes  whicli  appeared  during  his  life,  /.  e.  up  to 
Part  XX  inclusively.  See  Life  of  Lope,  p.  27 1 . 


24  HUGO    A.    RKNNERT 


El  Remedio  en  la  Desdicha.  P.    (Abindarraez  y  Narvaez). 

Los  Esclavos  libres.      P. 

El  Desconfiado.     P-. 

El  Cardenal  de  Bclen  .     P^ 

El  Alcalde  mayor.     P- . 

X  Los  Locos  de  Valencia .      P. 

Santiago  el  Verde.  (MS.  undated,  Brit.  Mus.)     P^ 

La  Francesilla.     P. 

X  El  Desposorio  encubierto  .      P- . 

Los  Espaiioles  en  blandes . 

PARTE   XIV 

Madrid  :  1620  (Brit.  Mus. ;  Labouchere  ;  J.  R.  C.  ;  Univ.  ot 
Bologna;  Univ.  of  Madrid). 

Madrid  :  1621  (Brit.  Mus.  ;  Labouchere  ;  Bib.  Nac.  ;  H.  A. 
R.),  V.  Bibl.Mad.,  Ill,  n°.  1797. 

COMEDIAS   IN   PART  XIV 

Los  Amantes  sin  Amor.      P.  and  P-. 
La  Villana  de  Xetafe .      P^ . 
X  La  gallarda  Toledana .      P . 
X  La  Corona  merecida .      P . 
X  La  Viuda Valenciana.  P. 
X  El  Caballero  de  lUescas.   P.  and  P' . 
Pedro  Carbonero .      P . 
X  El  verdadero  Amante.  P. 
Las  Almenas  deToro. 
El  Bobo  del  Colegio .      P^ . 

X    El    Cuerdo   loco  (Mentioned    under  this  title  in  P.    and 
under  the  title  o{  HI  Veneno  saludabk  inP\)  MS.  Holland,  1602. 
La  In^ratitud  venirada.  P. 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  25 

PARTE  XV   ' 

Madrid  :  1621.  Fernando  Correa  (Labouchere;  J.  R.  C.  ; 
Univ.  of  Madrid;  Bib.  Nac),  v.  Bibl.  Mad.,  Ill,  n°.  1798. 

Madrid  :  1621.  Viuda  de  Alonso  Martin  (Brit.  Mus.  ;  Labou- 
chere; H.  A.   R.),  V.  Bibl.  Mad.,  Ilf,  n°.  1799. 

COMEDIAS  IN  PART  XV 

La  mal  Casada .      P^ . 
Querer  la  propia  Desdicha . 
La  Vengadora  de  las  Mugeres . 
El  Caballero  del  Sacramento .      P^ . 
X  La  Santa  Liga   (P .  La  Batalla  naval) . 
X  El  Favor  agradecido.  P. 
La  hermosa  Ester  (MS .  Brit.  Mus.,  16 10).     P-. 
X  El  leal  Criado.     P. 

La  buena  Guarda  (MS.  Pidal.  16 10.  La  Encomienda  bien 
gtmrdada . )    P^ . 

La  Historia  de  Tobias.  P-. 
El  Ingrato  arrepentido.  P. 
El  Caballero  del  Milagro .      P. 

PARTE  XVI^ 

Madrid  :  1621,  por  la  viuda  de  Alonso  Martin  (Brit.  Mus. ; 
Labouchere;  J.  R.  C;  Bib.  Nac),  v.  Bibl.  Mad.,  n°.  1800. 

Madrid  :  1622,  por  la  viuda  de  Alonso  Martin  (Schack; 
Univ.  of  Madrid),  v.  Bibl.  Mad.,  n°.  1901 . 

1.  There  were  two  issues  of  this  Parte  published  at  Madrid  in  1621  :  one 
by  the  printer  Fernando  Correa,  the  other  by  the  widow  of  Alonso  Martin, 
V.  Restori,  Una  Colleiione,  etc.,  p. 9  ;    Ntieva  Biog .,  pp.  358-360. 

In  the  Prologue  to  this  Part,  Lope  states  that  he  had  written  926  coniedias. 

2.  It  is  stated  in  the  Prologue  that  this  Part  was  published  afterPart  XVII  ; 
«  No  se  acabd  de  imprimir  por  su  ausencia  [de  Lope]  y  asi  viene  despues  de  la 
XVII  ». 


26  HUGO    A.    RENNERT 


COMEDIAS  IN  PART  XVI 

El  Premio  de  la  Herinosura .      P' . 
X  Adonis  y  Venus.     P. 
Los  Prados  de  Leon .      P- . 
Mirada  quien  alabais. 

Las  Mugeres  sin  Hombres  (?  P.  Las  Amnzonas). 
La  Fabula  de  Persco.      P- . 
El  Laberinto  de  Greta.      P-. 
La  Serrana  dcTormes.      P. 
Las  Grandezas  de  Alejandro. 
La  Felisarda. 
La  inocente  Laura. 

Lo  Fingido  verdadero  o  Vida,  Muerte  y  Marti  rio  de  San 
Gines  (P-.  El   mejor  Representante) . 

PARTE    XVII 

Madrid  :  1621,  por  la  viuda  de  Alonso  Martin  (Brit.  Mus. ; 
Labouchere  ;  j.  R.  C). 

Madrid  :  1621,  por  Fernando  Correa  de  Montenegro  (Bib. 
Nac;  H.  A.  R.). 

Madrid  :  1622,  por  la  viuda  de  Alonso  Martin  (Brit.  Mus.; 
Labouchere;  J.  R.  C.  ;  Univ.  of  Mad.). 

Madrid  :  1622,  por  la  viuda  de  Fernando  Gorrea  (Bib.  Nac), 
V,  Bibl.  Madrileha,  Nos.  1801,  1802,  1902  and  15)03.  See  also 
Salvd,  I,  p.  544. 

COMEDIAS    IN    PART    XVII 

Con  su  Pan  se  lo  coma.     P  ^ 

Quien  mas  no  puede.     P-. 

X  El  Soldado  Amante.     P. 

Los  Muertos  vivos.      P. 

X  El  Primer  Rev  dc  GastiUa.      P. 


BIBLIOGRAPHY    OF    LOPH    DE    VEGA  27 

?  X  El  Domine  Lucas.     P. 
X  Lucinda  perseguida.     P. 
El  Ruyseiior  de  Sevilla.     P  -. 
X  El  Sol  parado.     P. 
La  Madre  de  la  mejor. 
X  Jorge  Toledano.     P. 

El  Hidalgo  Abencerraje  :  El  Hidalgo  Jazimin  (?  P-.  El  gal- 
lardo  Jacobin.) 

PARTE    XVIII 

Madrid  :  1623,  luan  Goncalez.  Colofon  :  En  Madrid,  por 
luan  Goncalez.  Ano  MDCXXIL  (Bib.  Nac;  Salva,  I,  p.  544). 
V.  Bihl.  Mad.  No.  2032. 

Madrid  :  1623,  por  luan  Goncalez.  A  repetition  of  the  preced- 
ing with  change  in  the  date  of  the  colophon.  Bihl.  Mad.  No. 
2033.  I  find  no  trace  of  an  edition  of  Madrid  1625.  Barrera  says 
that  no  reprint  of  Part  XVIII  is  known.  Niicva  Biog.,  p.  375. 

COMEDIAS    IN    PART    XVIII 

El  Principe  perfecto,  parte  segunda.  [The  Parte  primera  is  in 
Parte  XL] 

X  La  Pobreza  estimada.     P. 

El  divino  Africano     (P^.  S.  Agustin.) 

X  La  Pastoral  de  Jacinto.     (P.  Los  Jacintos.) 

X  El  honrado  Hermano.     (?  P.  Los  Horacios.) 

El  Capellan  de  la  Virgen.     P-. 

X  La  Piedad  executada.     (P.  Pimenteles  y  Quifiones.) 

X  Las  famosas  Asturianas.     (P^  Las  Asturianas.) 

X  La  Campana  de  Aragon.     P. 

Quien  ama  no  haga  Fieros. 

El  Rustico  del  Cielo. 

El  Valor  de  las  Mugeres.     P'. 


HUGO    A.    RENN'ERT 


PARTE    XIX 

Madrid  :  1623,  por  luan  Gonzalez,  a  costa  de  Alonso  Perez, 
mercader  de  libros.  (Barrera,  Nueva  Biog.,  p.  375).  Ba r re ra  seems 
never  to  have  seen  this  edition.  There  is  no  copy  in  the  Brit. 
Mus.,  nor  does  the  Mus.  contain  a  copy  of  the  ed.  of  1626 
(Barr.A'.  7i.  377). 

Madrid  :  1624,  por  luan  Goncalez,  a  costa  de  Alonso  Perez 
(Brit.  Mus.;  Labouchere  ;  J.  R.  C.  ;  Univ.  of  Madrid.),  v.  Bibl. 
3W..III,  No.  2136. 

Madrid  :  1625,  por  luan  Goni;alez,  a  costa  de  Alonso  Perez. 
(Brit.  Mus.;  j.  R.C  ;  Bib.  Nac.)  v.  Bibl.  Mad.,  Ill,  No.  2232. 

\'alladolid  :  1627,  por  Geronimo  Morillo.  Colofon  :  En 
Valladolid,  por  la  viuda  de  Francisco  de  Cordoua.  Aiio  de 
MDCXXVII.  (Bib.  Nac;  H.  A.  R.) 

COMEDIAS    IN    PART    XIX 

Dc  Cosario  a  Cosario. 

Amor  secreto  hasta  Zelos.     P-. 

La  inocente  Sangre.     (Los  Caruaxales.  P\) 

El  Serafin  humano.     P-. 

El  Hijo  de  los  Leones. 

El  Conde  Fcrnan  Gonzalez.     P^. 

Don  Juan  de  Castro,  partes  primera  y  segunda.  P\  [The 
Parte  segunda,  somewhat  altered,  is  in  Parte  XXV  under  the 
title  of  Aventuras  de  D.  Juan  de  Alarcos .  ] 

La  Limpieza  no  manchada. 

El  Vcllocino  de  Oro.     P^ 

X  La  Mocedad  dc  Roldan.     P. 

Carlos  Quinto  en  Lrancia.     P-. 

PARTE    XX 

Madrid  :    1625    (Brit.    Mus.  ;  Labouchere;  J.  R.  C. ;  Bib.  de 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  2<) 

S.  Isidro).  There  were  two  issues  in  tliis  year  :  Madrid^  viuda 
de  Alonso  Martin,  1625  (Salva,  I,  545  ;  Restori,  Una  Colleiione, 
etc.,  p.  9;  Bibl.  Mad.,  No.  2233)  and  Madrid,  por  luan  Gon- 
calez,  1625  (v.  Barrera,  Niieva  Biog.  p.  386). 

Madrid  :  1627  (Brit.  Mus.;  Labouchere;  J.  R.  C).  Salva  men- 
tions an  edition  of  Madrid,  viuda  dc  Alonso  Martin,  1626,  but 
with  colophon  :  luan  Goncalez,  MDCXXVII. 

Madrid  :  1629,  por  luan  Gon(;alez  (Labouchere;  Univ.  of 
Madrid).  The  latter  copy  lacks  the  title-page. 

Barcelona  :  1630  (Brit.  Mus.;  Labouchere;  J.  R.  C.;  Bib. 
Nac.;H.  A.  R.). 

COMEDIAS    IN    PART    XX 

La  discreta  Venganza. 

Lo  Cierto  por  lo  Dudoso. 

Pobreza  no  es  Vileza. 

Arauco  domado.     P^ 

La  Ventura  sin  buscalla.     P\ 

El  valiente  Cespedes.     P\ 

El  Honibre  por  su  Palabra.     P-. 

X  Roma  abrasada.     (?  P.  Neron  cruel.)  This  is  also  in  P'. 

Virtud,  Pobreza  y  Muger.     P\ 

El  Rey  sin  Reyno.     P^ . 

El  mejor  Mozo  de  Espana.     P-. 

El  Marido  mas  firme. 

PARTE    XXI 

Madrid  :  1635  (Brit.  Mus.  ;J.  R.  C. ;  Labouchere;  Univ.  of 
Madrid;  Bib.  Nac. ;  H.  A.  R.). 

COMEDIAS    IN    PART    XXI 

La  bella  Aurora. 

i  Ay,  Verdades!  que  en  Amor... 


30 


HUGO    A.    REKNERT 


La  Boba  para  los  Otros  y  Discreta  para  si. 
La  Xoche  de  San  Juan. 

El  Castigo  sin  Venganca.     (MS.  Ticknor,  163 1.) 
Los  Vandos  de  Sena.     P-. 
El  mcjor  Alcalde  el  Rey. 
El  Premio  del  bien  Hablar. 

La  \^itoria  de  la  Honra.     P^  {Dif.  XXXIII.  La  Vikvia  par  la 
Honrn.) 

El  piadoso  Aragones. 

Los  Tellos  de  Meneses,  parte  primera. 

Por  la  Puentc,  Juana. 


PARTE   XXII 

Zaragoza:  i63o(Labouchere; 
Salva;  H.  A.  R.  ;  Bibl.  Nat. 
Paris  (Schack.);  v.  Life  of  Lope 
de  Vega,  pp.  344-345. 

Xunca  mucbo  costo  poco. 

[This  is  not  Alarcon's  come- 
dia.\ 

Di  Mentira,  sacaras  Verdad. 

[This  is  by  Matias  de  los 
Reyes.  J 

La  Carbonera.  [Also  in  Par- 
te XXII,  Madrid,  1635.) 

La  Amistad  y  la  Obligacion. 

La  Wrdad  sospechosa.[This 
is  by  Alarcon.] 

Quien  bien  ama  tardeolvida. 

Amar  sin  saber  a  quien. 
I  Also  in  Parte  XXII,  Madrid, 
1635. I 

El  Marques  de  las  Navas. 
IMS.  Holland.  1624. J 


Lo  que  ha  de  ser.  [See  also 
Parte  XXV.  But  the  present 
impression  of  the  play  is  near- 
er the  original  MS.  Brit.  Mus., 
1624.] 

La  Lealtad  en  el  Agravio. 
(P.  Las  Quinas  de  Portugal.) 

En  los  Indicios  la  Culpa. 

La  Intencion  castigada. 

Madrid:  1635  (Brit.  Mus.; 
Labouchere;  J.  R.  CT;  Univ. 
ofMadrid;Bib.Nac.;H.A.R.). 

Quien  todo  lo  quiere. 

No   son   todos  Ruyseiiores. 

Amar,  Servir  y  Esperar. 

La  \'ida  de  San  Pedro  No- 
lasco. 

La  primera  Informacion. 

Nadie  se  conoce. 

La  Mayor  Vitoria. 

Amar  sin  saber  a  quien  [Also 
in  Parte  XXII,  Zaragoza,  1630.] 


BIBLIOGRAPHY    OF   LOPE   DE   VEGA  3  I 

-(-  Amor,  Pleito  y  Desafio.  Los  Trabajosde  Jacob.  (Sue- 

[This  is  Alarcon's  Ganar  Ami-      nos  ay  que  Verdad  son.) 
gos.  It  is  in  Parte  XXIV,  Zara-  La  Carbonera.  [Also  in  Par- 

goza,  1633.]  te  XXII,  Zaragoza,  1630. J 

El  Labrador  venturoso.  [This 
is  stated  to  be  in  Parte  XXIV, 
Madrid,  1640.] 

PARTE    XXIIl 

Madrid  :  1638  (Brit.  Mus.;  J.  R.  C.  ;  Labouchere  ;  Bib.  Nac; 
Univ. 'of  Madrid;  H.  A.  R.). 

COMEDIAS    IN    PART    XXIII 

Contra  Valor  no  hay  Desdicha. 

Las  Batuecas  del  Duque  de  Alba.     (P^  Las  Batuecas.) 

Las  Cuentas  del  Gran  Capitan. 

El  piadoso  Veneciano.     P' . 

Porfiar  hasta  morir. 

El  Robo  de  Dina. 

El  Saber  puede  danar. 

La  Envidia  de  la  Nobleza.     (?  P.  Zegries  y  Bencerrajes.) 

X  Los  Pleitos  de  Inglaterra.     (P.  El  Pleito  de  Inglaterra.) 

X  Los  Palacios  de  Galiana.     (?  P.  La  Galiana.) 

X  Dios  haze  Reyes. 

El  Saber  por  no  Saber,  y  Vida  de  San  Julian  de  Alcald. 

PARTE   XXIV  ' 

Madrid  :  1640  (N.  Antonio  and  Schack). 


I.  This  Parte  XXIV,  so  Chorley  maintained,  is  now  only  known  through 
the  notice  of  it  given  by  Nicolas  Antonio.  He  observes  that  it  is  not  in  the  col- 
lections   of  Lords  Holland  and  Taunton,  nor  in  the  public  libraries  of  Paris, 


32  HL'GO    A.    RENNERT 

COMEDIAS    IN    PART   XXIV 

El  Palacio  confuso.     (Dif.  XXVIII.) 

El  Ingrato.  (S.  Brit.  Mus.;  J.  R.  C;  with  the  name  of  Cal- 
deron.) 

La  Tragedia  por  los  Celos  [by  Guillen  dc  Castro]. 

El  Labrador  venturoso  [See  Parte  XXII,  Madrid,  1635]. 

La  Creacion  del  Mundo.     (C.  N.  Amst.,  1726.) 

La  despreciada  Querida  [by  Villegas]. 

La  Industria  contra  el  Poder  '.  [This  seems  to  be  Calderon's 
Amor,  Honor  v  Poder .  \ 

La  Porfia  hasta  el  Temor.     {Dif.  XXVIII.')  S.,  J.  R.  C. 

El  Juez  de  su  misma  Causa.     P^  [See  Parte  XXV.] 

La  Cruz  en  la  Sepultura'.  [According  to  Miinch-Bellinghau- 
sen,  this  is  Calderon's  La  Devocion  de  la  Crn:^.^ 


Vienna  and  Spain.  Chorlcy  therefore  regards  it  as  lost,  butaddsthat  fortunately, 
apart  from  pieces  with  which  Lope  admittedly  had  nothing  to  do,  all  the 
comedias  cited  by  Antonio  are  known  in  other  Partes  or  in  siieltas  :  with  the 
exception  of  El  Hourado  con  su  Sangre,  and  this,  as  Gayangos  suggests,  may 
possiblv  be  the  piece  which  passes  under  the  name  of  Claramonte.  See  Life  oj 
Lope,  p.  410  and  n.  2,  and  Salva,  I,  p.  547,  where  No.  5  of  the  above  list  is 
given  under  its  alternative  title  :  La  primer  Culpa  del  Hombre. 

Dieze,  in  his  translation  of  Velazquez,  refers  to  a  Parte  XXIV,  Madrid, 
1638,  which  —  so  he  says  —  contains  plays  different  from  those  included  in 
the  Zaragoza  editions  of  16^3  and  164I.  Is  it  possible  that  the  volume  of  which 
Dieze  speaks  is  identical  with  the  above-noted  edition  of  Madrid,  1640  ?  See 
Ticknor,  History  of  Span.  Lit.  (Boston,  1888),  Vol.  II,  p.  245,  n.  36,  who 
mentions  an  edition  of  Part  XXIV  at  Madrid,  1638. 

I.  La  Cru:(eu  la  Sepultura  and  La  ludustria  contra  el  Poder y  el  Honor  contra 
la  Fuer^a  were  both  printed  in  Parte  Veinte  y  Ocho  de  Comedias  de  varios 
Autores,  Huesca,  1634,  where  they  are  both  ascribed  to  Lope.  The  slight  dif- 
ferences that  exist  between  La  Cru^  en  la  Sepultura  and  Calderon's  La  Devo- 
cion dc  la  Cru^  had  long  since  been  pointed  out  by  Hartzenbusch  in  his  edition 
of  Calderon  {Bib.  de  Aut.  lisp.),  Vol.  IV,  pp.  654,  659  and  701.  The  greatest 
variation  is  near  the  beginning  of  Act  III,  where  the  Huesca  edition  introduces 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA 


yy 


El  Honrado  con  su  Sangre.  [According  to  Gayangos,  this  is 
by  Claramonte.] 

El  Hijo  sin  Padre.  (P\  El  hijode  si  inisiiio  is  a  different  play, 
apparently,  for  both  are  given  in  P^)'. 


PARTE    XXIV 

Zaragoza  :  1632 ';  and  1633 
(Brit.  Mus. ;  Labouchere;  Bib. 
Nac;  Vienna;  H.  A.  R.). 

La  Ley  executada. 

Selvas  y  Bosques  de  Amor. 

El  Examen  de  Maridos  [by 
Alarcon]. 

El  que  diran  [by  Matias  de 
los  Reyes]. 

La  Honra  per  la  Muger. 

El  Amor  Bandolero. 

La  mayor  Desgracia  de  Car- 
los V  y  Hechizerias  de  Argel. 

Ver  y  no  creer. 

Dineros  son  Calidad. 

De  quando  aca  nos  vino. 

Amor,  Pleito  y  Desafio.[See 
Parte  XX,  Madrid,  1635.] 

Zaragoza  :  1641  (Brit.  Mus.; 
Labouchere;  J.    R.  C. ;  Univ. 


of  Madrid;  Bib.  Nac.  ;H.  A.  R.). 

Guardar  y  guardarse. 

La  hermosa  Fea. 

El  Caballero  de  Olmedo. 

X  El  Bastardo  Mudarra  (P-. 
Los  Siete  Infantes  de  Lara). 
MS.  Olozaga,  1612. 

La  ilustre  Fregona. 

El  Nacimiento  de  Cristo(.^ 
P.  El  Nacimiento). 

Los  Ramirez  de  Arellano. 

Don  Gonzalo  de  Cordoba. 
(^Fc'ga  del  P.,  La  mayor  Vito- 
ria  de  Alemania.  MS.  Osuna, 
1622,  La  niieva  Vitoria  de  D. 
Gonzalo  de  Cordoba.^ 

San  Nicolas  de  Tolentino. 

Los  Peligros  de  la  Ausencia. 

Servir  a  Buenos. 

Barlan  y  Josafa  (MS.  Holland, 
1611). 


a  scene  with  three  minor  characters,  which  is  not  found  in  Calderon's  play. 
But  there  can  be  no, question  that  these  are  two  titles  of  one  and  the  same 
play  and  that  the  author  is  Calderon. 

1.  See  also  Salva,  Catdlogo,  I,  547.  Salva  possessed  a  fragment  of  this 
volume,  without  title-page  or  preliminary  leaves,  consisting  of  132  fols.  The 
plays  in  his  fragment  are  in  a  different  order  from  that  given  above,  beginning 
with  La  despreciada  Ouerida. 

2.  Ticknor,  History,  II,  245,  //.  3,  mentions  this  edition  of  1632.  See  also 
Munch-Bellinghausen,  Ueler  die  aelteren  Savnnhmgen  spauischer  Dranien,  p.  1 36- 


REVUE    HISPANIQUE.    G. 


34  HUGO    A.    RENNERT 

PARTE    XXV 

Zaragoza  :  1647  (Brit.  Mus.;  J.  R.  C. ;  Labouchere;  Univ.  ot 
Madrid;  Bib.  Nac. ;  H.  A.  R.).  Quadrio,  Delia  Storia  e  delta 
Roiiione  il'ogtii  Poesia,  V,  p.  340,  cites  a  Parte  XXV  «  en  Madrid 
por  la  viuda  de  luan  Gonzalez,  1640  ».  Stiefel,  Ztfl.,  XV,  223,  ». 

COMl£DlAS    IN    PART    XXV. 

La  Esclava  de  su  Galan. 

El  Desprecio  agradecido.     (Vega  del  Paniaso.) 

Aventuras  de  don  Juan  de  Alarcos.  P^  [The  same  play, 
though  somewhat  attired,  as  the  one  printed  in  Parte  XIX 
with  the  title  D.  Juan  de  Castro,  Segunda  parte.] 

El  mayor  Imposible. 

La  Vitoria  del  Marques  de  Santa  Cruz.  (P'.  Tomade  Longa, 
etc.) 

Los  Cautivos  de  Argel.     (P.  Los  Cautivos.) 

Castelvines  y  Monteses.     P^ 

Lo  que  ha  de  ser.  [See  Parte  XXII,  Zaragoza,  1630.]  MS. 
Brit.  Mus.,  1624. 

El  ultimo  Godo  (Parte  VIII,  El  posirer  Godo).     P^ 

La  Necedad  del  Discrete.     P-. 

El  Juez  en  su  Causa.  (?  El  Juez  de  su  misma  Causa  in  Parte 
XXIV,  Madrid,  1640.)     P^ 

X  Los  Embustes  de  Fabia.     P.  and  P^ 

In  a  note,  apparently  by  La  Barrera,  it  is  added  that  Partes 
XXVI,  XXVII,  and  XXVIII  which  pass  as  being  by  Lope  only, 
but  which  contain  pieces  by  him  and  others,  are  included  later 
among  those  of  Diferentes  Aittoies.  To  this  Chorley  appends  the 
following  observations. 

FRAGMENTS   OF 
PARTHS    F.XTRAVAGANTES    :    COMEDIAS    DE    SEVILLA,    ETC. 

The    reference  to   this   Parle  XXVI  and   the  two   following 


BIBLIOGRAPHY   OF    LOPE  DE   VEGA  3) 

Partes  XXVII  and  XXFIII,  as  well  as  the  reference  to  the 
volume  of  Coniedias  de  Sevilla  (See  Life  of  Lope,  p.  442,  n.  2)  are 
introduced  by  La  Barrera  on  the  sole  authority  of  Fajardo's 
Index.  He  omits  to  give  the  reader  the  very  necessary  informa- 
tion that,  so  far  as  can  be  ascertained  at  present,  these  volumes 
do  not  exist,  save  in  some  fragments  which  have  been  preserved 
in  three  made-up  volumes  (joinos  colecticios)  in  the  Osuna 
Library,  numbered  respectively  :  131,  132,  and  133,  described 
by  Schack,  Nachlrdge,  pp.  41-42. 

In  an  article  upon  these  Partes  Extravagantes  published  in  1906, 
I  came  to  the  following  conclusions  :  (i)  «  That  a  Parte  XXVI 
extravagante  did  exist,  (a)  on  the  strength  of  Fajardo's  assertion, 
and  (b)  because  of  the  corroborative  evidence  in  the  Osuna  Vols. 
131  and  132,  and  (c)  because  Lope  de  Vega  in  his  El  Despvecio 
agradecido  distinctly  says  that  there  was  such  a  Parte  XXVI.  (2) 
I  believe,  too,   most  strongly,   that  there  was  a  Parte  XXVII 
extravagante  :  (a)  on  the  assertion  of  Fajardo,  which  is  confirm- 
ed by  (b)  the    plays  in  the  Osuna  Vol.    133,  by  the  fragments 
possessed  by  Salva  (Vol.  I,  548),  and  by  (c)  Chorley's  fragment 
of  Los  Vargas  de  Castilla,  corresponding  to  fF.  123-146  of  this 
Osuna  Vol.    133    ».  The  case  of  Parte  XXVIII  extravagante  is 
doubtful.  The  list  of  plays  it  is  supposed  to  contain,  according 
to  Barrera  {Cat.,  p.  683),    consists  of  but  ten  coniedias.  It  is 
strange  that  with  the  exception   of  El  Trato  miida  Costumbres 
(which  occurs  in  Vol.  XXX  Diferentes  of  Zaragoza,  1636,  under 
t4ie  title  El  Marido  bai^e  Miiger),  all  the  plays  mentioned  by 
Fajardo   as   being  in    Parte  XXVIII,  extravagante  are  given  in 
Part  XXVIII,   Diferentes  of  Huesca,    1634  (Barr.  p.   684).  See 
Rennert,  Notes  on  some  Comedias  of  Lope  de  Vega,  in  Mod.  Lang. 
Revieiv  (1906),  p.  98.  On  a  Parte  XXIX  extravagante,  see  Stie- 
fel,  in  Zeitschrijt  f.  rom.  Phil.,  XXX,  554. 

The  contents  of  these  Osuna  volumes  are  as  follows  : 


HUGO    A.    RENNERT 


Tomo  131  (8  plays). 

Ul  ^o?-<^'/- <??—!.  Vandos  (Los)  de  Sena,   ff.    114-38.    (Fragment  of  Parte 

XXI  of  Lope.) 

2.  Querer  mas  y  sufrir  menos  (apparently  a  siielta).  [It  is  in 

Parte  XXIX  of  Lope  y  otros,  Huesca,  1634.  In  the  vol.  in  the 

Bib.  Nac,  it  is  paged  fol.  1-20.] 
.2o^-^  ~^' ^^  ~~ — 3.    Nardo    Antonio    Vandolero,     ff.    235-54,    {Comedias    de 

Sevilla,  according  to  Fajardo.) 

4.  Engano  (El)  en  la  Verdad.  (P.)  (S.,  J.  R.  C.) 

5.  Principe  dcspenado  (El).  S.  [It  is  in  Parte  VII  of  Lope. J 

6.  Sierras  (Las)  de  Guadalupe.  S.  (S.,  J.  R.  C.) 

. y   /o(-- •''''' '^^ 7-  Amar  como  se  ha  de  amar.  S.  «  representola  Suarez  ».  [In 

«    Comedias  de  Sevilla   »,  according  to  Fajardo  :  See  Salvd,  I, 

p.  548-J 

8.  Nacimiento  (El)  de  Alba.  S.  (S.,  J.  R.  C).  [According  to 
Fajardo  XXVI  extravagante  :  see  Life  of  Lope,  pp.  346-47.] 

Tomo  132  (12  plays). 

1.  En  la  mayor  Lealtad  mayor  Agravio,  S.  (P.  Quinas  de 
Portugal).  S.  (J.  R.  C.)  Parte  XXII,  Zaragoza,  1630.  La  Lealtad 
en  el  Agravio. 

2.  Conde  (El)  don  Pedro  Velez,  ff.  95-145.  [According 

3.  La  Fortuna  adversa  del  Infante  to  Fajardo,  «  Comedias 
D.  Fernando  de  Portugal.  de  Sevilla  ».] 

4.  Nuestra  Seiiora  de  la  Pena  de  Fran- 
cia.  [According  to  La  Barrera,  p.  683,  El 
Casamiento  en    la  Muerte   y  Hechos   de 

Bernardo  del  Carpio.J  P.  ff.  171-270.  («  Co- 

5.  Leon  Apostolico(El)  y  Cautivo  coro-  medias  de  Sevilla  », 
nado.  according  to  Fajar- 

6.  Esclavo  fingido  (El).  (MS.  Barr.)  do. 

7.  D.  Manuel  de  Sousa  :  Naufragio 
prodigioso  y  Principe  trocado.  [See  Salva, 
I,  p.  548.] 


BIBLIOGRAPHY    OF  LOPE    DE    VEGA 


37 


8.  Buen  Vecino  (El),  flF.  204-21.  [Fragment  of  Diferentes 
XXXIII.  In  J.  R.  C.'s  collection.] 

9.  Prodigio  (El)  de  Etiopia.  S.  (S.,  J.  R.  C.)  According  to 
Fajardo,  in  XXVI  Exlravaganie  of  Lope.] 

10.  Vitoria  (La)  de  la  Honra.  S.  (In  Parte  XXI  and  Dife- 
rentes XXXIII.^  [See  Salva,  p.  548.  The  snelta  that  Salva  pos- 
sessed, formed  part  of  Lope's  Parte  XXL] 

11.  Valor  perseguido  (El)  y  Traycion  vengada.  S.  [A  suelta 
with  the  same  title  in  Chorley's  collection  bears  the  name  of 
Montalvan.] 

12.  Enganar  a  quien  engana.  S.  (MS.  copy.  J.  R.  C.) 

Tomo  133  (11  plays). 

1.  Zelos  con  Zelos  se  curan  [By  Tirso  de  Molina.] 

2.  Madrastra  (La)  mas  honrada.  S. 

3 .  Novios  (Los)  de  Hornachuelos  :  «  Representola  Fernan- 
dez »,  S.  (J.  R.  C.).  MS.  Osuna  :  [According  to  Paz  y  Melia, 
Cat.,  No.  2391,  it  is  ascribed  to  Velez  de  Guevara  and  to 
Medrano.  This  copy  is  dated  April  12,  1629.] 

4.  Medico  (El)  de  su  Honra  :  «  Repre- 
sentola Avendaiio.  »  (M.) 

5.  6.  Lanza  por  Lanza,  la  de  Luis  de 
Almanza  :  Partes  I  and  11.  «  Represen- 
tola Avendaiio.  »  (Parte  I,  S.  Holland), 
ff.  21-38. 

7.  Sastre  (El)  del  Campillo.  «  Repre- 
sentola Manuel  Vallejo.  »  [By  Belmonte. 
Autog.  MS.  dated  Aug.  i,  1624,  in  B.  N. 
Cat.  No.  3048.  This  fragment  is  paged  : 
ff.  39-62.] 

8.  Alia    daras    Rayo.     «    Representola 
Manuel  Vallejo  »,  ff.  63-80. 

9.  Selva  confusa  (La).  S.  [According  to 


ff.  1-146.  Fajar- 
do :  Parte  XXVII 
L'xtravaganlc,  Barce- 
lona, 1633.,  except 
Julian  Romero, 
which  figures  as 
belonging  to  Parte 
XVII  of  Zaragoza, 
But  this  may  be  an 


38  HUGO    A.    RENNERT 


Schack  this  is  not  by  Lope ;  but  see  the       error    of   the   cop- 
note  in  the  alphabetical  list  of  titles],  ff.       yist  '. 
81-100. 

10.  Julian    Romero.    «    Representola 
Antonio  Je  Prado  »,  fF.  101-122. 

11.  Vargas  (Los)  de  Castilla.  (J.  R.  C. 
fragment),  ff.  123-146. 

CUATRO     COMEDIAS    lAMOSAS    DE    DON    LUIS    DE    GONGORA    Y     LOPE 
DE    VEGA,    RECOPILADAS    FOR    ANTONIO    SANCHEZ 

Madrid  :  1617  (J.  R.  C).  (Schack,  Nachtrdge,  p.  41.)  Cor- 
doba :  1 61 3  ^ 

*  Las  Firmezas  de  Isabela  [by  Gongora]. 


1.  I  am  ignorant  of  Chorley's  authority  for  this  statement  concerning 
Julian  Romero ;  Schack  (Nachtrdge,  p.  42),  who  certainly  saw  these  Osuna 
volumes,  merely  states  that  «  to  the  title  El  Medico  de  sii  Honra,  de  Lope  de 
Vega,  Fajardo  added  :  «  esta  impresa  en  la  Parte  vcinte  y  siete  extravagante  de 
Lope,  Barcelona,  1633.  »  As  the  foliation  of  this  fragment  is  consecutive, 
Julian  Romero  occupying  ff.  101-122,  this  play  must  have  been  contained  in 
the  same  volume,  /.  e.  Parte  XXVII,  extravagante.  Although  I  have  inquired 
repeatedly  at  the  Bib.  Nacional  for  these  Osuna  volumes,  I  have  never  suc- 
ceeded in  seeing  them.  They  must  have  been  used  by  Menendez  y  Pelayo,  for  he 
printed  two  plays  from  it  :  Lan\a  par  Lan^a,  la  de  Luis  de  Alman:(a  and  El 
Medico  de  su  Honra,  both  in  Vol.  IX,  of  the  Academy's  edition.  He  states, 
moreover,  that  he  has  never  seen  the  parte  segunda  of  Lania  por  Lan^a, 
which  is  not  in  the  Osuna  volume,  as,  indeed  the  foliation  (ff.  21-38)  proves 
that  this  volume  contains  only  one  part,  the  first.  If  these  Osuna  volumes  are 
no  longer  to  be  found  in  the  Biblioteca  Nacional,  thev  must  now  be  in  San- 
tander. 

2,  Chorley  notes  that  tiie  Cdrdoba  edition,  which  seems  to  be  the  princeps 
(the  licenses  are  dated  Madrid,  1612  and  1613)  is  in  Gayangos's  collection; 
Chorley  also  refers  to  La  Barrera,  p.  707,  who  states  that  the  names  of  the 
authors  are  not  given  in  the  Tabla,  but  in  the  text.  El  Lacayo  jingido  bears 
Lope's  name.  The  title  of  the  third  play  is  given  as  J.as  Bnrlas  y  Enredos  de 
Benito. 


BIBLIOGRAPHY    OF    LOPE   DE   VEGA  39 

X  Los  Jacintos,  y  Celoso  de  si  mismo  [by  Lope].  P.  Parte 
XVIL  La  Pastoral  de  Jacinto. 

X  Los  Enredos  de  Benito.  [Chorley  thinks  this  anonymous 
play  may  be  by  Lope  :  La  Barrera  is  doubtful.] 

X  El  Lacayo  fingido.     P. 

LA    VEGA    DEL    PARNASO 

Madrid  :  1637.  (J.  R.  C. ;  H.  A.  R.)  Reprinted  in  Ohms 
sueltas  de  Lope,  IX  and  X. 

This  volu'.ne  contains  the  following  coined  ins  : 

El  Guante  de  dona  Blanca.  (Dif.XXIX,  XXX,  and  XLIF.) 
Fajardo  :  «  En  su  P"=.  5  y  en  el  libro  Vega  del  P.   » 

La  mayor  Virtud  de  un  Rey.  (Escog.  XXXVII,  with  the  title 
El  mejor  Casanienlero  by  Matos.)  Fajardo  :  «  En  el  libro  Vega  del 
P.  y  en  su  P'^  2  de  Madrid,  1634.  ^^  [P'^-  ^  is  probably  a  slip 
for  P=.  5.] 

Las  Bizarrias  de  Belisa.  MS.  Brit.  Mus.,  1634.  Fajardo  :  «  En 
su  P'^.  5  y  en  el  libro  Vega  del  P.  » 

Porfiando  vence  Amor.  Fajardo  :  «  En  la  Vega  del  P.  y  en  su 
P"=  5  de  Madrid.  » 

El  Desprecio  agradecido.  Comedias,  XXV  and  Escog.  XXXIX 
with  the  title  La  Dicha  por  el  Desprecio,  by  Matos.  Fajardo  :  «  En 
su  P'^.  5  :  y  en  su  P'*.  25  \i.  e.  Parte  XXV,  Zaragoza,  1647]  y 
en  el  libro  Vega  del  P.   » 

El  Amor  enamorado.  Fajardo  :  «  En  su  P'^.  25  y  en  su  libro 
Vega  del  P.  » 

La  mayor  Victoria  de  Alemania.  (This  is  Don  Gon:{alo  de  Cor- 
dova, Parte  XXIV,  Zaragoza,  1641  :  and  MS.  Osuna.  Niieva 
Vitoria,  etc.  Cat.  B.  N.  No.  2409.)  Fajardo  :  «  En  suP'^.  5  y  en 
su  libro  Vega  del  P.  » 

i  Si  no  vieran  las  Mugeres !  Fajardo  :  «  En  su  P'*.  5  y  en  su 
libro  Ves'a  del  P.  » 


40  HUGO    A.    RENNERT 


RELACION  DE  LAS  FIESTAS  QUE  LA  INSIGNE  VILLA  DE  MADRID  HIZO 
EN  LA  CANONIZACION  DE  SU  BIEN  AVENTURADO  HIJO  Y  PATRON 
SAN  ISIDRO,    ETC.    DIRIGIDA  A    LA  MISMA    INSIGNE    VILLA  POR  LOPE 

DE  VEGA  CARPio.     -  Madrid,  por  la  viuda  de  Alonso  Martin, 
ano  de  1622. 

Reprinted  in  Obras  siieltas,  XII,  1777. 

La  Ninez  de  San  Isidro. 
La    Juventud  de  San  Isidro. 

PAKIHS    EXTRAVAGANTES  DE    LOPE  ' 

PARTE  XXVI.  Exlravagante.  Zaragoza  :  1645  ^ 

La  Ciudad  sin  Dios  (El  Inobediente). 

Despertar  a  quien  duerme.  Parte  VIII,  1617. 

Dos  Agravios  sin  Ofensa.  [By  Caspar  de  Alarcon.j  This  name 
is  unknown  to  me. 

Lealtad,  Amor  y  Amistad.  [Doubtful.] 

Lo  que  es  un  Coche  en  Madrid  (Los  Riesgos  que  tiene  un 
Coche)  [By  Antonio  Hurtado  de  Mendoza]. 

1.  In  his  revised  copy,  Chorley  has  struck  out  the  headings  and  contents  of 
Partes  XXVI,  XXVII  and  XXVIII.  Chorley  there  states,  and  he  repeats  the 
assertion  elsewhere,  that  La  Barrera  gives  these  Partes  extravagantes  solely 
on  the  authority  of  Fajardo,  from  whom  he  copies  his  entries.  I  think,  however, 
that  Chorley  pushes  his  scepticism  somewhat  too  far.  On  the  whole  the 
balance  of  evidence  seems  to  me  to  favor  the  conclusion  that  there  did  exist 
a  Parte  XXVI,  extravagante  and  a  Parle  XXVII,  extravagante,  and  quite  apart 
from  La  Barrera  (Catdhgo,  p.  682)  and  Men^ndez  y  Pelayo  appears  to  be  of 
the  same  opinion.  At  all  events,  if  only  for  the  sake  of  completeness,  it  is 
advisable  to  set  out  the  contents  of  these  Partes  which  were  included  in  Chor- 
ley's  first  draft.  See  my  article  cited  above  (p.  35)  and  Life  of  Lope,  pp.  346 
and  354-55  5- 

2.  This  volume  must  have  first  appeared  before  1635,  as  Lope  mentions  a 
Parte  XXVI  of  his  Coniedias  in  El  Desprecio  agradecido.  Vega  del  Paniaso  (1637), 
fol.  155. 


BIBLIOGRAPHY    OF    LOPE    DE  VEGA  4 1 

Mas  vale  Salto  de  Mata  que  Ruego  de  Buenos.  [Doubtful.] 

La  Merced  en  el  Castigo.  [Ascribed  to  Moreto  in  Escog.  XXX, 
1668,  under  the  title  of  El  Pretnio  en  la  misma  Pena  ;  ascribed  to 
Montalvan  in  a  suelta  and  m  Escog.  XL,  1675,  under  the  title 
oi  El  Dichoso  en  Zarago:(a.] 

El  Nacimiento  del  Alba.  [See  Life  of  Lope,  p.  347.] 

Pusoseme  el  Sol,  saliome  la  Luna.  [By  Claramonte  ?  ] 

El  Prodigio  de  Etiopia  (Santa  Teodora). 

El  que  diran  y  Donayres  de  Pedro  Corchuelo.  [By  Matias  de 
los  Reyes.] 

La  Ventura  de  la  Pea. 

PARTE  XXVII.  Extravagante.  Barcelona  :  1633. 

Alia  daras,  Rayo.  [Doubtful.] 
El  Medico  de  su  Honra. 
Los  Milagros  del  Desprecio. 
Por  la  Puente,  Juana. 

El  Sastre  del  Campillo.  [By  Luis  de  Belmonte  Bermudez.] 
La  Selva  confusa. 
Los  Vargas  de  Castilla. 
El  Infanzon  de  Illescas. 

El  gran  Cardenal  de  Espafia  Don  Gil  de  Albornoz.  [By  Enri- 
quez  Gomez.] 

Celos  con  Celos  se  curan.  [By  Tirso  de  Molina.] 
Lanza  por  Lanza,  la  de  Luis  de  Almanza. 

PARTE  XXVIII.  Extravagante.   Zaragoza  :  1639.  Barrera,  p.  683. 

La  Cruz  en  la  Sepultura.  [Ascribed  to  Lope  :  it  is  Calderon's 
La  Devocion  de  la  Cru^.  ] 

De  un  Castigo  tres  Venganzas.  [Ascribed  to  Lope  :  it  is  by 
Calderon.] 

El  Palacio  confuso.  [La  Barrera  says  that  it  bears  Lope's  name. 
Chorley   remarks  that  La  Barrera  seems  to  have  misread  the 


42  HUGO    A.    RENNERT 


entry  in  FajarJo,  whose  note  is  as  follows  :  «  En  Parte  28  de 
Mescua.  »  This  is  to  some  degree  borne  out  by  the  fact  that  the 
play  is  ascribed  to  Mira  de  Mescua  in  Escog.  XVIII,  Madrid, 
1667.  The  attribution  to  Lope  occurs,  as  noted  below,  in  Dif. 
XXVIII,  Huesca,  1634.] 

La  Despreciada  Qtierida  [Ascribed  to  Lope  :  it  is  by  Juan  Bau- 
tista  Villegas.] 

El  Juez  de  so  misma  Causa  (El  Juez  en  su  Causa).  [By  Lope.] 

El  Labrador  venturoso  [So  says  La  Barrera,  following  Fajardo; 
but  Chorley  suspects  a  slip  on  the  part  of  Fajardo,  who  may 
have  intended  to  write  Dif.  XXVIII,  where  (see  below)  the 
play  is  given.] 

La  Porfia  hasta  el  Temor. 

El  Principe  Escanderbeg.  [Ascribed  to  Lope  :  it  is  by  Luis 
Velez  de  Guevara.] 

El  Trato  muda  Costumbres.  [Ascribed  to  Lope  :  it  is  by  Anto- 
nio Hurtado  de  Mendoza.] 

El  celoso  Extremeiio.  [Ascribed  to  Lope  :  it  is  by  Antonio 
Coello.] 

This  Parte  XXVIII  is  the  most  doubtful  of  these  Partes  exlra- 
vagantes. 

PARTE    XXVIII    DE    DIPERENTES  '. 

Parte  veinte  y  ocho  de  Coinedias  de  varios  Aiitores.  Huesca  :  Por 
Pedro  Bluson,  1634.  Bibl.  de  Antores  Espanoles;  Comedias  de 
Calderon,  IV,  p.  654. 

I.  The  title  and  contents  of  this  very  rare  volume,  which  I  have  taken  from 
the  Ticknor  copy,  follows  :  Parte  veynte  y  ocho  de  Comedias  de  Varios  Antores. 
[Shield,  and  beneath  it  :  D.  l.  escveres.]  Con  licencia.  En  Huesca,  Por 
Pedro  Bluson  Impressor  de  la  Vniuersidad.  Ano  1634.  A  costa  de  Pedro 
Escuer  Mercadcr  de  Libros. 

The  liu'Hcia  is  signed  by  Dr.  Melchor  de  Alayeto,  Catedratico  de  Prima  en 
la  Vniueriidad  de  Huesca,  April  6,  1633.  It  contains  the  following  plays,  with 
the  attributions  as  given  in  the  volume,  fol.  i  : 


BIBLIOGRAPHY    OF    LOPE  DE    VEGA  43 

Arsenal  Library,  Paris;  Brit.  Museum;  Ticknor  Library; 
Vatican  Library  (according  to  a  letter  from  Ticknor  dated  Octo- 
ber 1857). 

COMEDIAS    BY    LOPE    DE   VEGA    IN    THIS   PARTE    XXVIII 

El  Labrador  venturoso.  (Parte  XXII,  Madrid,  1635.) 
El  Palacio  confuso.  [Escog.  XXVIII,  with  the  name  of  Mes- 
cua.] 

La  Porfia  hasta  el  Temor.  (S.,  J.  R.  C.) 

El  Juez  de  su  Causa.  P  ^.  (Parte  XXV.  El  juez  en  su  Causa.) 


La  despreciada  Querida  :  Comedia  famosa.  De  Lope  de  Vega  Carpio. 
Representdia  Antonio  de  Prado. 

La  Industria  contra  el  Poder,  y  el  Honor  contra  la  Fuerza.  Comedia  famosa. 
De  Lope  de  Vega  Carpio.  Representola  Vallejo,  fol.  23. 

El  Labrador  venturoso  :  Comedia  famosa.  De  Lope  de  Vega  Carpio.  Repre- 
sentdla  Roque  de  Figueroa.  fol.  43. 

El  Palacio  confuso  :  Comedia  famosa.  De  Lope  de  Vega  Carpio.  Represen- 
t6la  Vallejo.  fol.  65. 

La  Porfia  hasta  el  Temor  :  Comedia  famosa.  De  Lope  de  Vega  Carpio. 
Representola  Roque  de  Figueroa.  fol.  89. 

El  Juez  de  su  Causa :  Comedia  famosa.  De  Lope  de  Vega  Carpio.  Represen- 
t6la  Avendano.  fol.  109. 

El  zeloso  Estremefio  :  Comedia  famosa.  De  Don  Pedro  Cuello  (5/1:).  fol. 
134. 

Vn  Castigo  en  tres  Vengancas  :  Comedia  famosa.  De  Don  Pedro  Caldcron. 
fol.  153. 

El  Principe  Don  Carlos  :  Comedia  famosa.  De  Don  Diego  Ximenez  de 
Anciso.  Represent61a  Olmedo.  fol.  175. 

El  Principe  de  los  Montes  :  Comedia  famosa.  Del  Dr.  Juan  Perez  de  Monta- 
luan.  fol.  196 V. 

El  Principe  Escanderbey  :  Comedia  famosa.  De  Luys  Velez  de  Gueuara. 
Represent61a  Antonio  de  Prado.  fol.  217. 

La  Cruz  en  la  Sepultura  :  Comedia  famosa.  De  Lope  de  Vega  Carpio. 
Representdla  Avendano.  fol.  234  v-250. 


44  HUGO    A.    RENNERT 


PARTE    XXIX    DE    DIFERENTES  ' 

Do:ic  Comedias  de  Lope  de  Vega  Carpio.  Parte  veynte  y  nneue. 
En  Guesca  :  por  Pedro  Luson,  1634.  (Bib.  Nac.   R.  14147.) 
[Schack,  Nachtrage,  43. J 

COMEDIAS   OF    LOPE    DE    VEGA    IN    THIS   VOLUME; 

La  Paloma  de  Toledo,  ft.   1 21-140,  incl.  (J.  R.  C.  the  same 
fragment). 

Donde  no  esta  su  Dueno  esta  su  Duelo,  ff.  58-81.  [Doubtful]. 

Querer  mas  y  sufrir  menos.  (S.,  J.  R.  C.) 

Los  Martires  de  Madrid.  (S.,  J.  R.  C.) 

La  prospera  Fortuna  de  don  Bernardo  de  Cabrera. 


I.  I  owe  the  following  description  of  the  copv  of  Diferentes  XXIX,  in  the 
Bib.  Naclonal,  to  the  kindness  of  my  friend  D.  Alvaro  Gil  Albacete  : 

Doie  I  Comedias  \  de  |  Lope  de  Vega  \  Carpio.  |  Parte  veynte  y  nueue.  \  Con 
licencia  \  . 

En  Guesca,  por  Pedro  Luson.  Ano  de  1634. 

La  Paloma  de  Toledo,  ff.  121-140  incl.  De  Lope  de  Vega. 

Donde  no  esta  su  Dueiio  esta  su  Duelo,  ff.  58-81 .  De  Lope  de  Vega. 

duerer  mas  y  sufrir  menos,  ff.  1-20^.  De  Lope  de  Vega. 

Los  Martires  de  Madrid,  ff.  1-20V.  De  Lope  de  Vega. 

La  prospera  Fortuna  de  don  Bernardo  de  Cabrera,  ff.  1-22^'.  De  Lope  de 
Vega. 

La  aduersa  Fortuna  de  don  Bernardo  de  Cabrera,  ff.  i-22\'.  De  Lope  de 
Vega. 

Las  Mocedades  de  Bernardo  del  Carpio,  ff.  1-20^. 

Pusoseme  el  Sol,  saliome  la  Luna,  ff.  1-22.  De  Lope  de  Vega,  [de  Clara- 
monte  ?] 

El  Cerco  del  Penon,  ff.  1-20^.  De  Luys  Velez. 

El  Cautivo  venturoso,  ff.  i-i6v.  De  Francisco  de  Barrientos. 

Un  Gusto  trae  mil  Disgustos,  ff.  1-20^.  De  Juan  Perez  de  Montalvan. 

El  Hombre  de  mayor  Fama,  ff.  i-iyv.  De  Mira  de  Mescua. 

The  name  of  the  author  is  given  at  the  beginning  of  each  comedia.  Barrera, 
p.  683. 

It  will  be  seen  that  this  is  a  factitious  volume  :  tliat  the  printer  has  collected 


BIBLIOGRAPHY    OF  LOPE    DE    VEGA  45 

La  aduersa  Fortuna  de  don  Bernardo  de  Cabrera. 
Las    Mocedades  de   Bernardo  del  Carpio.   {Escog.   Zaragoza, 
1653.  S.,  J.R.C.) 

PARTE  XXIX. 

Comedias  de  difermles  autores.  Valencia  :  1636.  Por  Silvcstre 
Esparsa. 

(Duran ;  Ticknor,  tr.  by  Gayangos  and  Vedia,  IV,  411; 
Barr.,  p.  685). 

i  Ay,  verdades  !  que  en  Amor...  (Parte  XXL) 

El  Guante  de  dona  Blanca.  (^f^ega  del  Parnaso),  v.  Stiefel, 
Ztft,,  XV,  223. 

PARTE    XXX. 

Parte  trcinta  de  Comedias  famosas  de  varios  Autores. 

Zaragoza:  1636.  (Schack,  Nacbtrdge,  99;  copy  in  Ticknor 
Library  without  title-page.) 

Sevilla,  en  la  Imprenta  de  Andres  Grande,  1638.  (Brit. 
Mus.,  V.  Barr.,  p.  685,  and  Zeitschrift  filr  roman.  Phil,  XV, 
p.  224.) 

El  Guante  de  dona  Blanca.  (^Vega  del  P.  In  the  ed.  of  1636, 
it  occupies  pp.  426-66.) 


twelve  plays  and  provided  them  with  a  title-page.  Hence  Stiefel  (Zeitschrifl, 
XXX,  p.  554),  conjectures  the  following  Parte  XXIX  cxlravagaute  : 
I ,  ff.  1-20. 

2.  A  lo  que  obliga  el  ser  Rey,  ff.  21-40. 

3.  La  Lealtad  en  la  Traycion,  ff.  41-57. 

4.  [Donde  no  esta  su  Dueno  esta  su  Duelo],  ff.    58-81.  (Stiefel  inserted 
Qtierer  mas  y  stifrir  metios,  which  is  without  foliation.) 

5 ,  fi.  82-98. 

6.  La  Estrellade  Sevilla,  ff.  99-120. 

7.  La  Paloma  de  Toledo,  ff.  121-140.  (See  Salva,  I,  p.  548.) 


^6  HUGO  A.  RENNERT 


PARTE  XXXI 


Parte  Ireynta  vtia  dc  las  meiores  Comedias  qm  hasia  oy  ban  salido. 

Recogidos  por  el  Doctor  Francisco  Toriuio  Ximenez.  Barcelona  : 

1638,  porjavme  Romeu.  (Brit.  Mus.;  Ticknor Library.) [Barr., 

p.  685.] 

Contra  Valor  no  ay  Desdicha,  ff.  69-89.  (Parte  XXIII.) 

El  Silencio  agradecido,  ft".   90-112.   [By  Lope,  according   to 

Gomez  y  Casal.  v.  Barr.,  p.  583.] 


PARTE    XXXII. 


Parte  treyiifa  y  dos  am  doce  Comedias  de  diferentes  Antores.  Con 
licencia  en  Zaragoza  por  Diego  Dormer.  Aiio  MDCXL,  a  costa 
de  jusepe  Ginobart,  mercader  de  Libros.  (Ticknor,  trad.  Gayan- 
gos  and  Vedia,  IV,  413.)  [Barr.,  p.  685.] 


PARTE    XXXIII. 


Parte  trcynta  y  tres  de  doce  Comedias  jamosas  de  varios  Antores. 
\'alcncia,  por  Claudio  Mace,  1642.  (Brit.  Mus.)  [Barr.,  p.  686.] 

La  Vitoria  por  la  Honra.  P^  (Parte  XXI). 

El  buen  Vecino  (J.R.C.  fragment).  [The  same  that  is  found 
in  Tomo  132,  Osuna,  ff.  204-221.] 


PARTE    XXXVII. 


Do~e  comedias  mieuas  de  diferentes  Antores,  las  meiores  que  hasta 
abora  ban  salido.  Ano  1646.  En  Valencia,  a  costa  de  Juan  Son- 
zoni.  The  only  copy  known  of  this  Parte  XXXVII,  is  in  the 
Library  of  the  University  of  Bologna. 

La  Moza  de  Cantaro.  (Barrera  p.  708). 


I.  In  this  volume  tlie  aiitlior's  names  are  not  given. 


BIBLIOGRAPHY    OF    LOPE   DE    VEGA  47 

PARTE  XLIV  '. 

Parte  quarenta  y  quatro  de  Comedias  de  diferentes  Autores.  En 
Zaragoza  por  los  herederos  de  Pedro  Lanaja  y  Lamarca.  Ano  dc 
1652.  (Vienna,  Munch-Bellinghausen,  p.  26  (p.  125).  The 
volume  in  the  Vienna  Library  is  merely  a  collection  of  suellas 
with  a  title-page,  but  no  Aprobacion  or  preliminary  leaves.  The 
names  of  the  authors  are  given  in  the  plays. 


I .  To  this  La  Barrera  appends  the  following  note  : 

Comedias  de  Lopede  Vega(j  otros  Autores)  a  volume  printed  at  Seville,  repeat- 
edly cited  by  Fajardo,  and  surviving  in  a  fragment  (consisting  of  six  comedias), 
which  forms  part  of  the  made-up  volume,  number  132,  of  the  Library  of  the 
Duke  of  Osuna.  The  pieces  in  this  very  rare  book  which  may,  more  or  less 
doubtfuUv,  be  ascribed  to  Lope  are  : 

1.  El  Conde  don  Pedro  Velez.  (Fajardo  :  «  En  C.  de  Sevilla.  »  Osuna. 
T.  132.) 

2.  La  adversa  Fortuna  del  Infante  don  Fernando  de  Portugal.  (Fajardo  : 
i<  En  C.  de  Sevilla.  »  T.  132.  Osuna.) 

5.  La  Pena  de  Francia.  (Possibly  by  Tirso  de  Molina*.  (Fajardo  :  <■  En  C.  de 
Sevilla.  »  T.  132.  Osuna.) 

4.  El  Leon  apostolico  y  Cautivo  corouado.  (Fajardo  :  «  En  C.  de  Sevilla. 
T.  132.  Osuna.) 

5.  El  Esclavo  fingido.  (Fajardo  :  «  En  C.  de  Sevilla.  »  T.  152.  Osuna.) 

6.  Don  Manuel  de  Sousa,  6  el  Naufragio  prodigioso.  (Fajardo :  «  En  C.  dc 
Sevilla.  ->  T.  132.  Osuna.) 

7.  El  Conde  Fernan  Gonzalez  y  Libertad  dc  Castilla.  (Fajardo  :  «  En  C.  dc 
Sevilla.  »  T.  132.  Osuna.) 

8.  El  Hijo  piadoso,  y  Bohemia  convertida.  (Fajardo  :  «  En  C.  de  Sevilla.  » 
T.  152.  Osuna.) 

9.  El  Maldito  de  su  Padre,  y  valiente  Bandolero.  (Fajardo:  "  En  C.  de 
Sevilla.  T.  132.  Osuna.) 

Only  the  first  six  of  these  plays,  according  to  Chorley,  are  in  the  above- 
mentioned  Tomo  152  in  the  Osuna  Library  :  see  also  La  Barrera,  Caldlogo, 
p-  683,  and  Comedias  escogidas  de  Lope,  vol.  IV,  p.  541. 

aChorley  conjectures  that  La  Peiia  de  Francia  may  be  an  alternative  title  of 
El  Casamiento  en  la  Miurie.  Parte  I.  P^ .  As  to  the  Comedias  de  Sevilla,  he  refers 
to  his  previous  statement  (above,  p.  35),   and  points  out  that  Fajardo  men- 


HUGO    A.    RENNERT 


El  Guante  de  dona  Blanca.  {f^i'gn  del  Parnaso.) 

El  Villano  en  su  Rincon.  P-.  (Parte  VII).  [v.  Barrera,  p.  687.] 

MINOR   COLLECTIONS   OF   COMEDIAS   PREVIOUS   TO 
THE    COLLECTION    OF    COMEDIAS    ESCOGIDAS. 

Z)t)-r  Comedias  nvevas  de  Lope  de  Vega  Carpio  y  otros  Antores. 
Scgunda  Parte.  En  Barcelona,  por  Geronimo  Margarit.  Ano  de 
1630.  (Bibl.  Nac,  Schack,  Nachtriige,  p.  43  ;  Barrera,  p.  707.) 

Las  dos  Vandoleras  y  Fundacion  de  la  Santa  Hermandad  de 
Toledo. 

El  Hijo  por  engano  y  Toma  de  Toledo. 

La  desdichada  Estefiinia.  [Primera  parte,]  (Parte  XII.) 

El  Pleyto  por  la  Honra  (6  el  Valor  de  Fernandico).  [The 
second  part  of  the  preceding  play.]  (S.,  J .  R .  C.) 

tions  the  following  plays  in  addition   to   the    nine  set  forth    by  La  Barrera: 

1 .  Amar  comose  ha  dc  Amar.  «  P'^.  6  impr.  en  Sevilla.  »  T.  131.  Osuna.  S. 

2.  El  gran  Cardenal  de  Espaiia,  D.  Pedro  Gonzalez  de  Mendoza.  «  P«e. 
5  impr.  en  Sevilla  ». 

5.  La  Historia  de  Maragatos.  «  P^e.  5  de  Sevilla  antigua.  » 

4.  Nardo  Antonio  Vandolcro.  «  P'";.  5  impr.  en  Sevilla  ».  T.   131.  Osuna. 

Fajardo  also  mentions  three  other  plays  which  are  not  by  Lope. 

Concerning  La  Peila  de  Francia,  Cotarelo  (Comedias  de  Tirso  de  Molina,  II, 
xxx)  says:  «  En  la  Bib.  Nacional  existe  un  manuscrito  antiguo  (num.  15632) 
de  esta  obra,  atribuido  a  Lope  y  a  Tirso,  en  letras  diferentes  entre  si  y  distin- 
tas  tambien  de  la  del  texto.  Esta  lleno  de  acotaciones  y  tachaduras,  como  des- 
tinado  a  la  rcprescntacion  en  el  teatro,  segun  demucstra  tambien  el  reparto  en 
las  jornadas  2a-y  3".  Con  el  titulo  de  La  Pefia  de  Francia  se  imprimid  en  una 
Parte  extravagante  de  Lope,  sin  ano,  pero  de  Sevilla,  segun  D.  Juan  Isidro 
Fajardo  que  la  \\6,  El  Casamienlo  en  la  Mnerte  dt  aquel  gran  poeta.  Esto  seria 
causa  deque  en  el  Caldlogo  de  Medel  (1735),  V  luego  en  el  de  Huerta,  se  con- 
servase  este  litulo  ;  no  confundiendola  con  la  dc  Tirso  de  Molina,  que  tam- 
bien mencionan,  sino  por  creer  se  trata  de  dos  obras  de  igual  titulo.  La  Pena  de 
Francia  no  intervicne,  sin  embargo,  mas  que  como  insignificante  episodic  en 
la  obra  de  Lope.  » 

It  should  be  remarked,  besides,  that  the  first  play  in  the  Osuna  volume  132: 
En  la  mayor  Lealtad  mayor  Agravio  {La  Lealtad  en  el  Agravio)  is  undoubtedly 
Lope's,  and  Menindez  y  Pclayo  has  reprinted  it  in  the  Academy's  edition, 
vol.  VIII. 


BIBLIOGRAPHY   OF  LOPE    DE    VEGA  49 

Doce  Coviedias  de  varios  Autores...  Tortosa,  por  Francisco  Mar- 
torell,  1638  (Schack,  Nachtrdge,  p.   99;  Barrera,  Cat.,  p.  707.) 

Los  Celos  de  Rodamonte.  (Menendez  y  Pelayo  has  no  doubt 
that  this  is  Lope's.  Acad.,  XIIL) 

La  bienaventurada  Madrc  Santa  Teresa  de  Jesus.  P-.  (La  Madre 
Teresa  de  Jesus  ?). 

[This  passes  under  the  name  of  Luis  Velez  de  Guevara,  and 
Menendez  y  Pela3^o  thinks,  that  while  Velez  may  be  the  author 
of  it,  it  seems  more  in  Lope's  style,  and  he  prints  it  in  Aca- 
demy V.  See  the  alphabetical  list]. 

La  Isla  barbara.  [Though  this  play  is  here  ascribed  to  Lope,  it 
was  written  by  Miguel  Sanchez,  and  a  MS.  (Osuna)  of  La  Isla 
barbara  ascribed  to  Miguel  Sanchez,  contains  licenses  of  161 1  and 
1614.  It  was  published  by  me,  together  with  La  Giiarda  cuida- 
dosam  an  edition  issued  at  Boston,  1896.] 

COMEDIAS    ESCOGIDAS. 

Madrid  :  1652-1704  (Brit.  Mus.,  and  Bodleian). 
PARTE  III  [1653]. 

La  Llave  de  la  Honra. 

Mas  pueden  Zelos  que  Amor. 

La  discreta  Enamorada.  P^ 

La  Portuguesa  y  Dicha  del  Forastero  P^ 

X  El  Maestro  de  Danzar. 

Lo  que  esta  determinado. 

San  Diego  de  Alcala. 

PARTE  VI  [1653]. 

In  the  Imperial  Library  at  Vienna  (Miinch-Bellinghausen, 
p.  55  (140))  there  are  two  editions  of  this  Parte  VI  o{  Coined ias 
Escogidas,  both  printed  at  Zaragoza  «  por  los  herederos  de  Pedro 
de  Lanaja,  del  Reyno  de  Aragon  »  :  One  appeared  in  1653,  the 

REVUE    HISPANIQUE.    G.  4 


50  HUGO    A.    RENNERT 


Other  in  1654.  These  volumes  lack  consecutive  pagination,  and 
differ  wholly  in  their  contents.  The  Zaragoza  edition  of  1654  is 
a  reprint  of  the  Madrid  ed.  of  1654,  ^^  which  there  are  copies 
in  the  Brit,  Mus.  and  the  Bodleian.  For  the  contents  of  the  edi- 
tion of  1654,  which  does  not  contain  a  single  play  of  Lope,  see 
Schack,  III,  p.  525  ;  La  Barrera,  p.  689,  col.  2.  The  volume  of 
1653,  the  contents  of  which  are  given  by  Munch-Bellinghausen, 
has  the  following  pieces  by  Lope. 

Mirad  a  quien  alabais.  (Parte  XVL) 

Dineros  son  Calidad.  (Parte  XXIV,  Zaragoza,  1633.) 

Las  Mocedades  de  Bernardo  del  Carpio.  (In  Parte  XXIX  of 
Comcdias  de  Lope y  otros,  Huesca,  1634.) 

Satisfazer  callando  y  Princesa  de  los  Montes.  [See  Parte 
XXXVII,  where  a  piece  of  the  same  title,  which  Chorley  believ- 
ed to  be  the  same  as  this,  and  to  be  written  by  Lope,  is  ascrib- 
ed to  Moreto  :  it  appears  in  Parte  III  of  Moreto,  Madrid,  1681, 
In  the  latter  edition  it  is  entitled  Los  Hernianos  enconirados  (0 
satisfacer  callando).  It  is  not  in  Part  III  of  Moreto,  1676  and 
1703,  which  I  possess]. 

PARTE  VII  [1654]. 

El  Monstruo  de  la  Fortuna,  «  de  tres  ingenios  ». 

[This  is  Lope's  comedia.  La  Reyna  Juana  de  Napoles,  Parte  VI. 
Another  piece  with  the  same  title,  printed  in  Escog.,  XXIV,  is 
by  Calderon,  Montalvan  and  Rojas.  The  title  in  Escog.,  XXIV, 
however,  is  El  Monstruo  dela  Fortuna,  la  Lavandera  de  Napoles, 
Fell  pa  Cutanea.] 

PARTE  viii  [1657]. 

El  Marques  de  las  Navas,  «  de  Mira  de  Mescua  ». 
[This   is  Lope's  piece.  MS.  Holland,  16 14,  and  Parte  XXII, 
Zaragoza,  1630.] 


BIBLIOGRAPHY  OF    LOPE    DE  VEGA  5  I 


PARTE    X   [1658]. 

Los  Milagros  del  Desprecio. 

[Ascribed  to  Montalvan,  with  the  title  Diablos  son  Mugeres.] 

PARTE  XV  [1661]. 

La  Batalla  del  Honor,  «  de  Fernando  de  Zarate  ». 
[This  is  Lope's  cotiiedia.  (Parte  VL)  P^] 

PARTE   XVI    [1662]. 

El  Desden  vengado,  «  de  Rojas  ». 

[It  is  by  Lope.  MS.  autog.  (Osuna),  signed  by  Lope  at 
Madrid,  Aug.  4,  161 7]. 

PARTE  xviii  [1662J. 

Las  Niiieces  (6  la  Niiiez)  del  Padre  Rojas,  «  jamas  impresa  ». 
[MS.  autog.  Osuna,  dated  January  4,  1625,  v.  Life  of  Lope, 
P-  317-] 

PARTE   XX   (?)   [1663J. 

X  La  Difunta  pleyteada,  «  de  Francisco  de  Rojas  ». 

[This  may  be  the  piece  noted  by  Lope  in  P.  Chorley  observes 
that  the  style  is  more  like  his  than  like  Rojas's,  and  it  should  be 
especially  remarked  that  the  play  has  no  figiira  del  donayre.] 

PARTE  XXV  [1666]. 

La  Condesa  de  Belflor,  «  de  Moreto  ». 

[This  is  Lope's  El  Perro  del  Hortelano  (6  Amur  por  ver  Ainar^. 
P^  Parte  XL] 


52  HUGO    A,    RENNERT 


PARTE    XXVIII    [1667], 

El  Falacio  confuso,  «  de  Mescua  ». 

[Perhaps  the  piece  ascribed  to  Lope  in  Dif.  XXFIII  md  which 
appears  (according  to  Nicolas  Antonio)  in  Parte  XXIV,  Madrid, 
1640.  In  Schack's  opinion,  the  piece  attributed  to  Mescua  is  not 
by  him,  but  by  Lope  ;  it  is  certainly  in  Lope's  manner.] 

San  Isidro,  Labrador  de  Madrid.  P'.  (Parte  VII.) 

La  Ventura  en  la  Desgracia. 

PARTE  XXXVII  [1671]. 

El  mejor  Casamentero,  «  de  Matos  ». 

[This  is  Lope's  play  La  mayor  Virtud  de  iin  Key  (Vega  del  Par- 
nasd).] 

Satisfacer  callando,  y  Princesa  de  los  Montes  (o  los  Hermanos 
encontrados),  «  de  Moreto  ». 

[La  Barrera  is  undecided  as  to  whether  the  play  should  be 
ascribed  to  Moreto  or  to  Lope.  Chorley  thinks  that  it  is  by  Lope, 
and  that  it  is  the  same  attributed  to  him  iii  Escog.,  VI,  Zara- 
goza,  1653  :  see  above,  p.  49.] 

PARTE  XXXIX  [1673]. 

La  Dicha  por  el  Desprecio,  «  de  Matos  Fragoso  ». 
[This  is  Lope's  El  Desprecio  agradecido  {Fega  del  Parnaso  and 
Parte  XXV).  | 

La  discreta  Venganza,  «  de  Moreto  ». 
[This  is  Lope's  play  printed  in  Parte  XX.] 

PARTE  xLi  [1676]. 

El  Hijo  de  la  Molinera  (6  El  Gran  Prior  de  Castilla),  «  dc 
Francisco  de  Villegas  ». 

[This  is  the  play  by  Lope  which  exists  as  a  suelta  entitled  Mas 
Mai  hay  en  la  Aldegikla  de  lo  que  se  sucna  (Brit.  Mus. ;  J.R.C.).] 


BIBLIOGRAPHY   OF  LOPE  DE   VEGA  53 

PARTE   XLIV   [1678]. 

La  Prudencia  en  el  Castigo,  «  de  Rojas  Zorrilla  ». 
[This  play  is  ascribed  to  Lope  in  the  siidtas  (J.R.C.),  and 
Chorley  thinks  this  ascription  is  correct.] 

COMEDIAS    DE    LOS    MEJORES    Y    MAS    INSIGNES    INGENIOS    DE   ESPANA. 

Lisboa.  1652.  (Gayangos). 

La  Batalla  del  honor.  V\  (Parte  VL) 

COMEDIAS    NUEVAS    DE    LOS    MAS    CELEBRES    AUTORES,    ETC., 
DE    ESPANA. 

Alio  1726.  En  Amstardan,  a  costa  de  David  Garcia  Henri- 
quez.  (J.R.CH.A.R.) 

La  Creacion  del  Mundo,  y  primer  Culpa  de  el  Hombre.  S.  (Arl. ; 
Brit.  Mus.;  J.R.C.) 

[Nicolas  Antonio  gives  it  as  belonging  to  Parte  XXIV,  Madrid, 
1640. J 

La  Fuerza  lastimosa.  P.  (Parte  IL) 

COMEDIAS    OF    LOPE    DE    VEGA    IN    COLLECTIONS    OF    SUELTAS. 
THE    ARLINGTON    COLLECTION    OF    COMEDIAS    SUELTAS    (bRIT.    MUS.) 

This  collection  consists  of:  El  inejor  de.  Jos  mejores  Libras,  etc. 
Madrid,  1653  ;  Partes  IV,  V,  VII,  VIII,  X,  XI,  XII  and  XIII  ot 
the  Escogidas,  the  last  of  which  (XIII)  was  published  in  1660, 
and  might  have  been  purchased  by  Arlington  just  before  his 
departure  from  Spain.  The  collection  also  includes  six  volumes 
of  ancient  stieltas,  one  of  which  contains  the  following  pieces  by 
Lope  '. 


I.  Henry   Bennet,  afterwards   Earl  of  Arlington,   was  born  in  1618.  He 
fought  on  the  royalist  side  at  the  beginning  of  the  Civil  War.  In  1658  he  was 


54  HUGO    A.    RENNERT 


El  Nacimiento  del  Alba. 

[Doubtful.  A  play  with  this  title  is  printed  in  Parte  XXVI 
extravagante,  Zaragoza,  1645,  and  is  merely  a  mutilation  of 
Lope's  La  Madrc  de  la  niejor  in  Parte  XVII :  see  the  note  on 
doubtful  stii'llas  in  the  Chorley  collection,  Life  of  Lope,  p.  347, 
and  alphabetical  list  in  this  volume.] 

El  Hijo  de  los  Leones.  (Parte  XIX.) 

Enmendar  un  Daiio  a  otro.  [Doubtful.] 

La  Carbonera.  (Parte  XXII,  Madrid.) 

La  Creacion  del  Mundo  :  con  una  Loa  sacramental  {La  Crea- 
don del  Mundo  y  primer  Culpa  de  el  Hombre,  Com.  Nuevas,  Amst. 
1726,  without  the  Loa). 

Guerras  de  Amor  y  Honor.  (First  part  only.) 

Los  tres  Diamantes.  P.  Parte  11. 

Tanto  hagas  quanto  pagues. 

El  valiente  Cespedes.  (Parte  XXII.  P-). 

[It  also  contains  a  comedia  entitled  Bernardo  del  Carpio  en  Fran- 
cia  by  don  Lope  de  Liaiio  :  this  seems  to  be  the  play  which 
Huerta  and  Ticknor  cite  as  a  work  by  Lope.] 

La  Industria  contra  el  Poder,  y  el  Honor  contra  la  Fuerza  [by 
Calderon]. 

La  Cruz  en  la  Sepultura  [by  Calderon].  «  Representola  Aven- 
dano  '.  )) 

sent  as  diplomatic  agent  to  Madrid,  whence  he  returned  after  the  Restoration 
of  Charles  II,  with  whom  he  was  a  special  favourite.  He  brought  back  with 
him  the  collection  now  in  the  British  Museum,  and  appears  to  have  acquired 
at  Madrid  a  certain  pomposity  of  demeanour  which  excited  the  ridicule  of  his 
contemporaries.  He  was  raised  to  the  peerage  as  Baron  ArUngton  in  1663,  and 
joined  the  Cabal  :  an  earldom  was  conferred  on  him  in  1672.  The  fussy, 
slippery  politician  Arlington  is  now  perhaps  best  remembered  as  a  collector  of 
Lope's  works.  He  died  in  1685.  See  an  excellent  sketch  of  his  career  by  Mr. 
Osmund  .\iry  in  the  Dictionary  of  National  Biography  (London,  l88>),  IV, 
p.  250. 

1.  Following  this  list  of  Arlington  sudlas  Chorley  deta  is  the  suellas  in  the 
Osuna  collection.  1  omit  them  as  they  are  given  below. 


BIBLIOGRAPHY    Or  LOPE    DE   VEGA  55 

COLLECTION    OF    COMEDIAS    SUELTAS    IN    THE    IMPERIAL 
LIBRARY    AT    VIENNA. 

In  nine  volumes.  (Munch-Bellinghausen,  p.  75  (p.  152). 

This  contains  the  following  pieces  written  by  Lope,  or  ascrib- 
ed to  him  : 

El  Nacimiento  del  Alba.  [Two  copies.  Doubtful,  v.  Life  of 
Lope,  p.  347.] 

La  bella  Andromeda.  (Parte  XV.  La  Fabula  de  Perseo.) 

La  Puente  de  Mantible  [is  by  Calderon]. 

El  Hijo  de  los  Leones.  Parte  XIX. 

El  Principe  despeiiado.  Parte  VII.  (?P.  El  Despenado.) 

Valor,  Fortuna  y  Lealtad  de  los  Tellos  de  Meneses.  (It  is  the 
second  part  of  Lope's  Los  Tellos  de  Meneses  in  Parte  XXI.) 

Fuente  Ovejuna,  de  Monroy.  [This  differs  from  Lope's  play 
of  the  same  title.  Parte  XII.  P^]  S.  Brit.  Mus. 

El  Hijo  sin  Padre.  MS.  Duran.  [Nicolas  Antonio  quotes  a  play 
of  this  title  as  being  in  Parte  XXIV,  Madrid,  1640.  It  is  a  differ- 
ent play  from  that  mentioned  in  P.,  with  the  title  El  Hijo  de  si 
mismo,  as  the  titles  of  both  plays  are  repeated  in  the  list  in  P-.] 

El  Principe  Don  Carlos.  [It  is  by  Enciso.J 

Los  tres  Diamantes.  P.   Parte  II. 

La  Obediencia  laureada  y  primer  Carlos  de  Ungria.  Parte  VI. 
P. 

La  Creacion  del  Mundo  y  primera  Culpa  del  Hombre.  [Accord- 
ing to  Nicolas  Antonio  this  was  in  Parte  XXIV,  Madrid,  1640.] 
C.  N.  Amst.,  1726. 

La  Moza  de  Cantaro.  Dif  XXXVIL 

El  Cerco  de  Viena  por  Carlos  V. 

El  Conde  Dirlos.  [By  Cubillo,  whose  authorship  is  asserted  in 
the  closing  verses.  The  play  mentioned  in  P.  must  be  different.] 

David  perseguido  y  Montes  de  Gelboe.  [The  sueJta  in  Vienna 
is  entitled  :  Los  Montes  de  Gelboe  y  David  perseguido.^ 


56  HUGO    A.    RENNERT 


COMEDIAS    WRITTEN    BY    LOPE,    OR    ASCRIBED    TO    HIM,    IN    THE 

COLLECTION  OF  D.  AGUSTiN  DURAN.  (ScHiick,  Nachtriige,  p.  44.) 

El  mavor  Prodigio  6  el  Purgatorio  en  la  Vida. 

El  Jardin  de  Vargas,  6  la  Gata  de  Mari- Ramos. 

Los  Nobles  como  han  de  ser. 

El  Enemigo  enganado.  P.  Dif.  XXXII. 

Enmendar  un  Dano  a  otro.  [Doubtful.] 

Mas  valeis  vos,  Antona,  que  la  Corte  toda. 

El  Merito  en  la  Tcmplanza,  y  Ventura  por  el  Sueno.  [Doubt- 
ful.l 

El  Nino  Diablo. 

El  Labrador  de  Tormes. 

La  Ciudad  sin  Dios.  [Printed  in  Escog.,  II  as  El  hwhediente  6  la 
Cindad  sin  Dios,  by  Claramonte,  whose  piece  is  a  re-cast  of 
Lope's.  It  is  also  ascribed  to  Lope  in  Parte  XXVI,  exlravagank  : 
see  Life  of  Lope,  p.  346.  ] 

La  Conipetencia  en  los  Nobles.  (MS.  Brit.  Mus.,  1625.) 

Enganar  a  quien  engana.  (MS.  copy,  J.R.C.) 

El  Engaiio  en  la  Verdad.    (P.). 

Los  Hierros  por  el  Amor. 

Mas  mal  hay  en  la  aldegiiela  de  lo  que  se  suena  [0  El  Hijo  de  la 
Molincra,  y  el  gran  Prior  de  Castilla,  under  which  title  it  is 
ascribed  to  Villcgas  in  Escog.,  XLIL] 

Pedro  de  Urdemalas.  [Wrongly  ascribed  to  Montalvan.]  P^. 

El  Palacioconfuso,  «  de  Mescua  »  {Dif.  XXVIII.  It  is  ascribed 
to  Mescua  mEscog.,  XXVIII,  and  according  to  Nicolas  Antonio, 
in  Pane  XXIV,  Madrid,  1640). 

El  Hijo  dc  los  Lcones.  Parte  XIX. 

Las  Burlas  veras.  This  is  undoubtedly  Lope's. 

Dos  Agravios  sin  Ofensa.  [This  cannot  be  by  Lope  :  see  the 
note  appended  to  this  title  in  the  list  of  Chorley's  sneJtas.] 

La  Horca  para  su  Dueno.  (La  hermosa  Ester.  Parte  XXV.)  MS. 
Brit.  Mus.  1610. 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  57 

Guerras  de  Amor  y  Honor.  Parte  primera. 
+  El  gran  Cardenal  de  Espana,  don  Gil  de  Albornoz.  Parte 
primera. 

[This  is  by  Enriquez  Gomez]. 
Ventura  y  Atrevimiento. 
La  Ventura  en  la  Desgracia.  (Hscog.,  XX Fill.) 
La  Defensa  en  La  Verdad. 

IN    THE    BRITISH     MUSEUM     (BESIDES    OTHERS    ALREADY     MENTIONED 
AS    BEING    IN    DIFFERENT    COLLECTIONS). 

El  Pleito  por  la  Honra.  (Parte  XIL  Coinedias  niieiias  de  Lope  y 
olros,  Parte  IL  Barcelona,  1630.) 

San  Diego  de  Alcala.  {Escog.,  III.) 

El  gran  Tamorlan  de  Persia.  [This  is  Luis  Velez  de  Guevara's 
piece  entitled  Zrt  nueiia  Ira  de  Dios  y  gran   Tamorlan  de  Persia.] 

El  Animal  Profeta,  San  Julian.  [By  Mescua  ?  MS.  Osuna,  1631. 
I  have  a  suelta  v/hich  bears  Lope's  name,  and  Menendez  y  Pelayo 
has  printed  the  play  as  Lope's  in  vol.  IV,  of  the  Academy's  edi- 
tion. 

El  Infanzon  de  Illescas. 

[According  to  Hartzenbusch  this  is  by  Tirso.  An  old  impres- 
sion is  inserted  in  Parte  XVII  of  the  Comedias  of  Lope  (a  book 
which  belonged  to  Tieck)  instead  of  the  twelfth  piece.  El 
Hidalgo  Abencerraje.  A  MS.  exists  in  the  Osuna  collection  with 
the  title  El  Key  D.  Pedro  en  Madrid,  «  de  Claramonte  »  (Hart- 
zenbusch, Comedias  de  Tirso,  p.  xliii).  In  Paz  y  Melia's  Catdlogo, 
No.  1593,  it  is  given  as  :  «  Comedia  de  Fr.  Gabriel  de  Tellez  », 
and  bears  a  license  dated  at  Zaragoza,  December  30,  1626.  Under 
the  same  title  it  is  ascribed  to  Calderon  in  his  Parte  V  (Jurtiva'), 
Barcelona,  1677.  (Barrera,  Cat.,  p.  52.)  It  is  printed  in 
Parte  XXVII,  extravagante,  Barcelona,  1633  :  see  Life  of  Lope, 
p.  354,  and  n.  Menendez  y  Pelayo  gives  it  as  Lope's,  or  rather 
as  a  refundicion  of  Lope's  play  by  Claramonte  :  see  the  essay  pre- 


HUGO    A.    RENNERT 


fixed  to  vol.  X,  of  the  Academy's  edition.  The  piece  is  the  orig- 
inal of  Moreto's  conmila,  El  valiente  Jiisticiero.  See  also  El  In/an - 
ion  delUescas  in  the  alphabetical  list]. 
Las  Doncellas  de  Simancas. 

IK    THE    LIBRARY    Ol-    LORD    HOLLAND,    KENSINGTON'    (j.R.C.). 

El  Alcalde  de  Zalamea.  (MS.  Duran.  Cat.  Bib.  Nac.  No.  420.) 

El  Animal  Profeta,  v  mas  dichoso  Patricida,  San  Julian.  [See 
above.] 

La  bella  Andromeda.  (Parte  XVL  La  Fabula  de  Perseo.) 

Las  Burlas  veras. 

El  Cerco  de  Viena  y  socorro  por  Carlos  V. 

La  Defensa  en  la  VerJad. 

El  Diablo  Nino. 

La  Discreta  enamorada. 

Don  Beltran  de  Aragon.  (Las  Mudanzas  de  Fortuna,  in 
Parte  III  de  Lope  y  otros,  Barcelona,  1612.) 

La  Estrella  de  Sevilla. 

Fernan  Mendez  Pinto.  Partes  primera  y  segunda.  [It  is  by 
Enriquez  Gomez.] 

La  Fianza  satisfecha. 

El  gallardo  Catalan.  (Parte  IL  P.  El  Catalan  valeroso.) 

La  Horca  para  su  Dueiio.  (La  hermosa  Ester.  Parte  XV.  MS. 
Brit.  Mus.,  1610.) 

El  Labrador  del  Tormes. 

Lanza  por  Lanza,  la  de  Luis  de  Almanza.  Primera  Parte. 
(Osuna,  Tomo  133.  Fragment  of  XXVII  extravaganle.  Barce- 
lona, 1633.) 

El  Marques  de  las  Navas.  (MS.  Holland,  1614.  Parte  XXII, 
Zaragoza,  1630.  Escof;.  VIII,  where  it  is  ascribed  to  Mescua.) 

Mas  pesa  el  Rey  que  la  Sangre.  [By  Luis  Velez  de  Guevara.] 

La  Merced  en  el  Castigo.  [Apparently  by  Montalvan  :  see  the 
note  on  this  play  in  Chorley's  collection  of  sneltas.  Bacon,  The 


BIBLIOGRAPHY    OF    LOPE   DE    VEGA  59 

Life  and  dramatic  works  of  Montalvau,  Rev.  Hisp.,  19 12,  p.  441, 
apparently  had  not  seen  this  comedia.] 

El  Milagro  per  los  Celos.  (Don  Alvaro  de  Luna.) 

Las  Mocedades  de  Bernardo  del  Carpio.  {Docc  Coined ias  de 
Lope  de  Vega  y  otros.  Parte  XXIX.  Huesca,  1634.) 

La  Moza  de  Cantaro.  Diferentes,  XXXVIL 

El  Nacimiento  del  Alba.  [Doubtful.] 

Las  Nineces  del  Padre  Rojas.  (Escog.,  XVIIL  MS.  Osuna, 
1625.) 

El  Pleito  por  la  Honra.  (J)oce  Comedias  nueuas  de  Lope  de  Vega 
y  otros.  Parte  IL  Barcelona,  1630.)  [See  Life  of  Lope,  p.  345.) 

El  Prodigio  de  Etiopia. 

San  Diego  de  Alcala.  {Escog.,  IIL) 

Satisfacer  callando.  [See Escog.,  XXXVIII,  where  there  is  attri- 
buted to  Moreto  a  play  of  this  title  which  I  believe  to  be  iden- 
tical with  the  present  one.  InEscog.,  VI,  Zaragoza,  1653,  it  is 
ascribed  to  Lope.  See  La  Barrera,  p.  705^  and  above. 

El  Sufrimiento  de  Honor. 

El  valeroso  Aristomenes  Mesenio.  [Chorley  notes  :  By  Matos 
Fragoso,  whose  piece  exists  also  with  the  title  Oiiilar  el  Fetido  a 
su  Patria.  Apparently  the  real  author  is  Alonso  de  Alfaro. 
SchaefFer,  II,  252,  ascribes  this  play  to  Alfaro,  and  says  it  also 
appears  under  the  title  Por  el  Esfiierio  la  Dicha,  as  the  work  ot 
Antonio  Coello.  I  have  a  suelta  :  En  Valencia,  por  la  viuda  de 
Joseph  de  Orga,  1761,  in  which  it  is  attributed  to  Matos  Fra- 
goso.] 

IN   THE    LIBRARY   OF   JOHN    RUTTER   CHORLEY    BESIDES   OTHERS 
ALREADY    MENTIONED    AS    BEING    IN    OTHER    COLLECTIONS. 

El  Exemplo  mayor  de  la  Desdicha  y  Capitan  Belisario.  (By 
Mescua.) 

Los  Milagros  del  Desprecio,  «  de  un  ingenio  ».  [Escog.,  X, 
where  it  is  ascribed  to  Lope.] 


6o 


HUGO   A.    RENNERT 


CO.MEDIAS    DE    LOPE    IN    COLLECTIONS    OF    SucltaS. 
IN    THE    LIBRARY    OF    JOHN    RUTTER    CHORLEY. 


Acertar  errando  :  yEmbaxa- 
dor  fingido. 

Alcalde  (El)  de  Zalamea. 

Amigo  (El)  por  Fuerza.  (P. 
Parte  IV.) 

Amistad  (La)  y  la  Obliga- 
cion.  (Parte  XXII.  Zaragoza, 
1630.) 

Animal  (El)  de  Ungria. 
(Parte  IX.) 

Arcadia  (La).  (Parte  XIII.) 

Batalla  (La)  del  Honor.  (P^ 
Parte  VI.) 

Bella  Andromeda  (La).  (Fa- 
bula  de  Perseo.  Parte  XVI.) 

Bernardo  del  Carpio.  Se- 
gunda  Parte.  «  Representola 
Avendano.  » 

Bizarrias  (Las)  de  Belisa, 
{Vega  del  P.  MS.  Brit.  Mus. 
1634.) 

Boba  discreta  (La).  (Parte  IX. 
La  Dama    boba.   MS.  Osuna, 
1613.) 
Burlas  veras  (Las). 
Campana  (La)   de   Aragon. 
(Parte  XVIII.  P.) 


I.  Parte  3  '  (ancient). 
I.  Parte  3  (ancient). 

I.  Parte  6. 


I.  Parte  3  (ancient). 

I.  Parte  2. 

I.  Parte  2. 

I.  Parte  6. 

I.  Parte  3  (ancient). 

I.  Parte  3  (ancient). 

I.  Parte  2. 


I.  Parte  6. 

I.   Parte  3   (ancient). 

I.   Parte   3  (ancient). 


I.  These  signs.  I.  Parte  5,  etc.  (=  Tomo  I,  Parte  3)  refer  to   the  lettering 
of  the  volumes  in  Chorley's  collection  now  in  the  British  Museum. 


BIBLIOGRAPHY   OF    LOPE   DE   VEGA 


6l 


Carbonera  (La).  (Parte  XXII, 
Madrid,  1635.) 

Casamiento    (El)  \ 
en  la  Muerte,  y  He-  I   ,  . 

chosde  Bernardo  del  ( 
Carpio.  | 

Cerco  (El)  de  Viena,  y  So- 
corro por  Carlos  V. 

Ciudad  (La)  sin  Dios. 

Competencia  (La)  en  los 
Nobles.  (MS.  Brit.  Mus.  licens- 
ed November  16,  1628.) 

Contra  Valor  no  ay  Desdi- 
cha.  (Parte  XXIII.  Dif.  31.) 

Creacion  (La)  del  Mundo. 
(C.  N.  Amst.  1726,  and  XXIV, 
Madrid,  1640,  according  to 
Nicolas  Antonio.) 

Dama  Melindrosa  (La). 
(Parte  IX.  Los  Melindres  de 
Belisa.) 

David  Perseguido,  y  Montes 
de  Gelboe. 

Defensa  (La)  en  la  Verdad. 

Desprecio  agradecido  (El). 
{Vega  del  P.  Parte  XXV.) 

Dios  haze  Reyes.  (Parte 
XXIII.) 

Dineros  son  Calidad.  (Parte 
XXIV,  Zaragoza,  1633. 
Escog.,  VI,  Zaragoza,    1653.) 

Donayres  (Los)  de  Matico 
(P.  El  Matico.  Parte  I.) 

Doncella,  Viuda  y  Casada  : 


I.  Parte  3  (ancient). 


I. 


I.  Parte 
I.  Parte 


Parte  i 
»    3 


(ancient). 


(ancient), 
(ancient). 


I.  Parte  3  (ancient). 


I.   Parte   i. 


I.   Parte  6. 


I.   Parte  6. 

I.  Parte  2. 
I.  Parte  3. 

I.  Parte  2. 

I.  Parte  3  (ancient). 


I.  Parte  i. 


I.  Parte  3  (ancient). 


62 


HUGO    A.    REKNERT 


«  deun  Ingenio.  »  (Parte  VII, 

Viuda,  Casada  y  Doncella.)  I.  Parte  6. 

Doncellas(Las)deSimancas.       I.  ^  Parte   i  and 
Parte  I.  (  Parte  3  (ancient). 

-|-  Dos  Agraviossin  Ofensa ' . [This can- 
not be  by  Lope.  In  the  concluding  verses   i 

lio  pri-  f 


the  poet  styles  himself,  an  «  ingenio  p 
merizo  ».  In  the  Osuna  collection  there  ( 
is  a  Slid t a  of  this  title  bearing  the  name  ] 
of  Caspar  de  Alarcon  :  it  may  be  identic-  j 
al  with  the  present  play.] 

Dos  Soldados  (Los)  de 
Christo.  (Parte  XXIV,  Zara- 
goza,  1 64 1.  MS.  Holland,  161 1. 
Barlan  y  Josafa.) 


I.  Parte  3  (ancient). 


En  la  mayor  Lealtad  mayor 
Agravio,  y  Favores  del  Cielo 
en  Portugal. 

Engaiio  (El)  en  la  Verdad. 

Enmendar  un  Dano  a  Otro. 
[Doubtful :  this  piece  belongs 
to  the  school  ofCalderon.] 

Esclava  (La)  de  su  Galan 
(Parte  XX\'). 

Estrella  (La)  de  Sevilla. 
[Sevilla  (?;  1680  (?).] 

Fianza  satisfecha  (La). 

Fuerza  lastimosa  (La). 
(P.Partell.C.iV.Amst.  1726). 


I.  Parte 


(ancient). 
P.  Quinas  de  Portugal. 
(Parte  XXII,  Zaragoza,  1630). 
Lealtad  en  el  Agravio. 
I.  Parte  4  (ancient). 

I.  Parte  ^  (ancient). 


I.  Parte  4  (ancient). 

I.  Parte  2. 

I.  Parte  4  (ancient). 

I.  Parte  i   (ancient). 


I.  Parte   i  (ancient). 


I.  Not  by  Lope. 


BIBLIOGRAPHY   OF    LOPE    DE   VEGA 


63 


Gallardo  Catalan  (El). 
(Parte  II.) 

Hermosa  Fea  (La).  (Parte 
XXIV,  Zaragoza,  1641.) 

Hijo  (El)  sin  Padre.  (MS. 
Duran.  In  Parte  XXIV,  of 
Madrid,  1640,  according  to 
Nicolas  Antonio). 

Hombre(El)  de  bien.  (P^ 
Parte  VI.) 

Honra  (La)  por  la  Muger. 
(Parte  XXIV.  Zaragoza,  1633. 
MS.  copy,  Holland.) 

Ingrato  (El)  «  de  Calderon  ». 

(Parte  XXIV,  de  Madrid,  1640, 

according  to  Nicolas  Antonio.) 

Jardin  (El)  de    Vargas,  y  la 

Gata  de  Mari-Ramos. 

Labrador  (El)  de  Tormes. 

Lealtad  (La)  en  la  Traycion, 
y  el  Honor  en  el  Agravio.  (MS. 
Duran,  1617.) 

Lo  que  hade  ser.  (Parte XXII. 
Zaragoza,  1630. — Parte  XXV.) 

Locos  (Los)  de  Valencia. 
(P.  Parte  XIII.) 

Marques  (El)  de  las  Navas. 
(Parte  XXII,  Zaragoza,  1630. 
Escog.,  VIIL  MS.  Holland, 
1614.) 

Martires  (Los  de  Madrid. 
{Dif.  XXIX.) 

Mas  mal  ay  en  la  Alde- 
giiela    de    lo    que   se    suena. 


I.  Parte  4  (ancient). 
I.  Parte  2. 

I.  Parte  4  (ancient). 
I.  Parte  6. 

I.  Parte  4  (ancient). 


I.   Parte  4. 

I.  Parte  4  (ancient). 
I.   Parte  4  (ancient). 


I.  Parte  4  (ancient). 
I.  Parte  2. 
I.  Parte  2. 

I.  Parte  4.  2  copies  (ancient). 
I.  Parte  4  (ancient). 


64 


HUGO    A.    RENNERT 


(£•m)^^,    XLII.  El  Hijo  dc  la 
Molinera,  «  dc  Villegas  ».) 

Mas  vale  Salto  de  Mata  que 
ruego  de  Buenos. 

Mas  valeis  vos,  Antona,  que 
la  Corte  toda. 

Mayor  Vitoria  (La).  (Parte 
XXII,  Madrid,  1635.) 

Merced  (La)  en  el  Castigo, 
y  Premio  en  la  misma  Pena. 
(«  De  Moreto  ».  Escog.,XXX.') 
(«  De  Montalvan  »,  whose  play 
it  seems  to  be.  Escog.,  XL,  with 
the  title  El  Dichoso  en  Zara- 
goia.) 

Mejor  Alcalde  (El)  el  Rev. 
(Parte  XXI.) 

Merito  (El)  en  la  Templanza, 
y  Ventura  por  el  Sueiio. 
(Doubtful.  The  style  is  unlike 
Lope's). 

Milagro  (El)  por  los  Zelos. 
D.  Alvaro  de  Luna. 

Parte  primera. 

Milagros  (Los)  del  Despre- 
cio  :  «  De  un  Ingenio.  « 
{Escog.,  X.) 

Mirad  a  quien  alabais. 
(Parte  XVI,  and  Escog.  VI,  of 
Zaragoza,  1653.) 

Mocedades  (Las)  |  Dace  Coinedias  de  Lope 

de     Bernardo     del  \  v  otros.  Parte  XXIX, 

Carpio.  J  Huesca,  1634.  Escog., 

\  VI,  Zaragoza,   1653, 


I.  Parte  4  (ancient). 

I.  Parte  4  (ancient). 

I.  Parte  4  (ancient). 

I.  Parte  2. 


I.  Parte  4  (ancient). 
I.  Parte  2. 

I.  Parte  4  (ancient). 
I.  Parte  ^  (ancient). 
I.  Parte  2  (modern). 

I.  Parte  I  (ancient). 

I.   Parte  4  (ancient). 

I.  Parte  i 
«      3 


(ancient.) 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA 


Molino   (El).   (P.  Parte  I.)       I.  Parte  i. 

Moza  (La)  de  Cantaro.  (Z)//. 
XXXVII  \)  I.   Parte  ^  (ancient). 

Nacimiento  (El)  del  Alba. 
(Doubtful.  Re-cast  of  Lrt  Madre 
de  la  iiiejor  of  Parte  XVII.  See 
alphabetical  list.)  I.  Parte  5  (ancient). 

Niiia  (La)  de  Plata.  (Parte 
IX.)  1.   Parte  2. 

Nino  Diablo  (El).  I.  Parte  5  (ancient). 

Nobles  (Los)  como  ban  de 
er.  I.  Parte  5  (ancient). 

-|-  Novios  (Los)  de  Horna- 
chuelos.  I.  Parte  5   (ancient). 

Obediencia  laureada  (La)  y 
primer  Carlos  de  Ungria. 
(Parte  VI.  ?\)  L  Parte  6. 

Obras  son  Amores.  (P-. 
Parte  XL)  I.  Parte   i. 

Perro(El)deHortelano.(P^       I.  Parte  I. 
Parte  XL) 

Pleyto  (El)  por  la  Honra  y 
Valor  de  Fernandico.  (Parte  XII 


I.  La  Barrera  (fiatdlogo,  p.  708)  refers  to  this  volume,  which  appeared  at 
Valencia  in  1646,  as  Parte  XXXXXVII.  Lest  the  student  should  be  mislead 
by  this  misprint,  it  may  be  as  well  to  state  that  the  volume  is  really  the 
thirty-seventh  of  the  Diferentes,  and  that  it  should  have  been  entered  on 
p.  686  of  the  Catdlogo.  Chorley  duly  informed  Gayangos  of  its  existence,  but 
Gayangos,  apparently,  did  not  communicate  the  information  to  La  Barrera 
until  the  printing  of  the  Catdlogo  had  almost  reached  its  last  stage,  and  in  the 
■final  hurry  of  transcription  and  impression  two  superfluous  X's  were  inserted. 
The  one  copy  known  of  this  Parte  XXXVII,  is  in  the  Library  of  the  Univer- 
sity of  Bologna.  Ticknor  (III,  519),  thinks  this  has  a  false  title-page,  printed 
later  than  its  date. 

REVUE    HISPANIQUE.    G.  5 


66 


HUGO   A.    RENNERT 


Jt'In/ifvcV /W.Barcelona,  1630.)       I.  Parte  5  (ancient) 

Por  la  Puente,  juana.  (Parte 
XXI.) 

Porha  (La)  hasta  el  Temor. 
{Dif.  XXFIII,  and  Parte  XXIV, 
Madrid,    1640,     according    to 
Nicolas  Antonio.) 

Premio  (El)  del  bien  hablar. 
(Parte  XXI.) 

Prodigio  (El)  de  Etiopia, 
Santa  Teodora. 

Prudencia  (La)  en  el  Castigo 
(Escog.  XLIV,  with  the  name 
of  Rojas  Zorrilla). 

Querer  mas  y  sufrir  menos. 
{Doce  Comedias  de  Lope  y  otros, 
Parte  XXIX,  Huesca,  1634). 

Reyna  Juana  (La)  de  Napo- 
les.  (Parte  VI.) 

San  Diego  de  Alcala  {Escog. 
III). 

Servir  a  Buenos.  (Parte 
XXIV,  Zaragoza,  1641.) 

Servir  con  mala  Estrella. 
(Parte  VI.  P^) 

Sierras  (Las)de  Guadalupe. 

Tanto  hagas  quanto  pagues 
(In  vol.  Illof  Moreto,  Madrid, 
1 68 1,  with    the    title   of    La 
Traycion  vengadd). 

\'aliente  Juan  de  Heredia(l:l). 
(MS.  Osuna). 


I.  Parte  2. 

I.   Parte  5  (ancient) 
I.  Parte  2. 
I.  Parte  5,  2  copies  (ancient). 

I.  Parte  5  (ancient). 

I.  Parte  5  (ancient). 

I.  Parte  6. 

I.  Parte  5  (ancient). 

I.   Parte  2. 

I.  Parte  6. 

I.  Parte  5  (ancient). 

I.   Parte  3  (ancient). 


I.    Parte  5  (ancient). 
Valor,  Lealtad  y  [  Parte  Primera.   ] 
Ventura  deles  Tel-  ^  (Parte   XXI).  I.  Parte  I. 

los  de  Meneses  f  ParteSegunda.  | 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA 


67 


Ventura  (La)  de  la  Fea. 
[Imperfect  :  leaves  2-7  miss- 
ing.] I.  Parte  5  (ancient). 

Ventura  y  Atrevimiento.  I.  Parte  5  (ancient). 

Yerros  [read  Hierros]  (Los) 
por  Amor.  L  Parte  5  (ancient). 


FRAGMENTS    OF    VOLUMES    OR    «    PARTES    »    OF   COMEDIAS 
PUBLISHED    COLLECTIVELY. 


Angelica   en    el    Catay.    (P. 
Parte  VIIL) 

Buen    Vecino    (El).     (Dif. 
XX  XI I  I.) 

De   quando  aca   nos    vino. 
(Parte  XXIV,  Zaragoza,  1633.) 

Castigo  (El)  sin  Ven- 
ganza.  With  the  sub- 
title :  —  Quando  Lope 
quiere,  quiere. 


I.  Parte  i. 


V.  Parte  6. 


I.  Parte  I. 


I.  Parte  6. 
(Printed  in  Parte  XXI, 
of  Lope.  MS.  autog. 
Ticknor,  163 1.)  (Frag- 
ment of  a  volume  hi- 
therto unknown,  ff.  43-  \ 

64  '•)  ; 

En  los  Indicios  la  Culpa. 
(Parte  XXII,  Zaragoza,  1630.)       I.  Parte  6. 

Enemigo  engaiiado  (El). 
(P.  Dif.  XXXII.)  L  Parte  6. 

Niiiez  (La)  del  Padre  Roxas. 
{Escog.  XVIII.  MS.  1626. 
Holland.)  I.  Parte  6. 

Paloma  (La)  de  Toledo. 
(Z)o;^6'  Coinedias  de  Lope  y  otros, 

I .  Chorley  notes :  «  It  has  been  recently  (April,  1864)  discovered  to  be  a  part 
of  Varios  de  Lisboa,  1647.  »  For  this  very  rare  volume,  see  Alphabetical  list 
under  Fuei:^a  lastimosa  (La).  See  also  Barrera,  p.  704. 


6S  HUGO    A.    RENNERT 


Parte  XXIX,  Huesca,    1634.)       I.  Parte  6. 

Scmbrar  (El)  en  buena 
Tierra.  (P^  Parte  X.)  I.  Parte  6. 

Silencio  agradecido  (El). 
(Dif.  XX XL)  I.  Parte  6. 

[Without  the  author's  name,  but  written  by  Lope,  according 
to  the  MS.  Indices  of  Gamez  and  Casal  :  see  La  Barrera,  p.  583.] 

Sufrimicnto  (El)  del  Honor. 
(Dif.  XXXII.)  I.  Parte  6. 

Vargas  (Los)  de  Castilla. 
(Parte  XXVII,  extravagante, 
Barcelona,  1633.)  I.  Parte  6. 

Ventura  (La)  en  la  Des- 
gracia  {Escog.  XXVIII).  I.  Parte  6. 

Vitoria  (La)  por  la  Honra. 
{Dif.  XXXIIL  Printed  in  Parte 
XXI,  of  Lope.)  I.  Parte  6. 

SUMMARY   OF   THE   CATALOGUE    OF    ((    SUELTAS    ». 

Pieces  known  in  this  form  only. 

I.  Acertar  errando  y  Embaxador  iingido.  J.R.C. 

*2.  Alcalde  (El)de  Zalamea.  (MS.  Duran.)  Holland;  J.R.C. 

3.  Amar  como  se  ha  deAmar.  Osuna.  Tomo  131. 

4.  Bernardo  del  Carpio.  Segunda  Parte.  J.R.C. 
*5.  Burlas  veras.  Duran;  Holland;  J.R.C. 

*6.     Ccrco  (El)  dc  Viena,  y  Socorro  por  Carlos  \ .  \^icnna. 
Holland;  J.R.C. 

*7.     Ciudad  (La)  sin  Dios.  Duran  ;  J.R.C. 

8.  Como  ban  de  ser  los  Nobles.  Duran  ;  J.R.C. 

9.  Compctencia  (La)  en  los  Nobles.  (MS.  copy,   with  the 
license  of  1628.  Brit.  Mus.)  Duran;  J.R.C. 

*io.  David  pcrseguido  y  Montes  de  Gelboe.  Vienna;  J.R.C. 


BIBLIOGRAPHY    OF    LOPE   DE   VEGA  69 

II.  Defensa  (La) en  la  Verdad.  Duran; Holland  ;  J.Il.C. 

Diablo  Nino  (El).  Holland,  see  Nifio. 
*I2.  Doncellas  (Las)  de  Simancas.  Brit.  Mus.  ;  J.R.C. 

13.  Engaiiar  a  quien  engaiia.  Osuna.  Tomo  132.  Duran. 
[This  does  not  seem  to  be  by  Lope.  J.R.C] 

14.  Engaiio(El)  en  la  Verdad.  Osuna.  Tomo  131  ;  Duran;  J. 
R.C. 

*I5.  Estrella  (La)  de  Sevilla.  Holland  ;  J.R.C. 
*i6.  Fianza  satisfecha  (La).  Holland  ;  J.R.C. 

17.  Guerras  de  Amor  y  Honor.  Parte  primera.  Arl.  ;  Brii. 
Mus. ;  Duran . 

18.  Hermanas  (Las)  Bandoleras.  Salva. 

19.  Hierros  (Los)  por  Amor.  Duran  ;  J.R.C. 

20.  Hijo  (El)  sin  Padre.  Vienna;  J.R.C.  [stated  by  Nicolas 
Antonio  to  be  in  Parte  XXIV.  Madrid,  1640]. 

21.  Ingrato  (El);  Brit.  Mus. ;  J.R.C.  [In  sueltas  \m\\\  CdX^c- 
ron's  name.  Stated  by  Nicolas  Antonio  to  be  in  Parte  XXIV, 
Madrid,  1640.] 

22.  Jardin  (El)  de  Vargas,  6  la  Gata  de  Marirramos.  Duran; 
J.R.C. 

23.  Labrador  (El)  delTormes.  Duran  ;  Holland  ;  J.R.C. 

24.  Lealtad  (La)  en  la  Traycion,  y  el  Honor  en  el  Agravio. 
(MS.  Duran,  1617  ;  J.R.C.) 

25.  Madrastra  (La)  honrada.  Osuna,  Tomo  133. 

26:  Mas  valeSaltode  Mata  que  Ruego  de  Buenos.  J:R.C. 

27.  Mas  valeis  vos,  Antona,  que  la  Corte  toda.  Duran;  J.R.C. 

28.  Mayor  Prodigio  (El)  y  Purgatorio  en  la  Vida.  Duran. 
*29.  Milagro  (El)  porlos  Zelos,  D.  Alvaro  de  Luna.  Holland; 

J.R:C. 

30:  Nino  Diablo  (El).  Holland  ;  J.R.C: 

Nobles  como  ban  de  ser.  J.R.C.  See  Como  han  de.  ser: 
31.  Pedro  de  Urdemalas.  Parte  segunda.  [With   Montalvan's 
name.]  Duran. 

*32.  Prodigio  (El)  de  Etiopia,  Santa  Teodora.  Osuna; 
Tomo  132;  Holland;  J.R.C. 


HUGO    A.    REXNERT 


33.  Sierras  (Las)  de  Guadalupe.  Osuna,  Tomo  131.J.R.C. 
*34.Tanto  hagas  quantopagues.  Arl.;  Brit.  Mus.;  J. R.  C.  [Print- 
ed in  the  third  volume  of  Moreto,  Madrid,  1681,   with  the  title 
La   Trayciou  vcngada.   It   is  not  in  Moreto's  Part  III  of  1672  or 
1703.1 

35.  Trabajos  (Los)  dc  Job.  Brit.  Mus. 

36,  Valiente  Juan  de  Heredia  (El).  MS.  Osuna;  J.R.C. 

*37.  Valor,   Lealtad  y   Ventura  de  los  Tcllos   de  Meneses. 
Vienna:  (Printed  in  Parte  XXI  of  Lope.) 

38.  Ventura  (La)  de  la  Fea.  J.R.C.  [Incomplete  :  leaves  2-7 
are  missing. J 

39.  Ventura  3- Atrevimiento.  J.R.C.  ;  Duran  ;  Salva. 
Yerros  (Los)  por  Amor.  See  Hierros. 

SUMMARY    OF    THE    CATALOGUE    OF    «    SUELTAS.    » 

Doubtful  Pieces. 

1.  Adultera  penitente  (La);  S.  xviii  century :  Gayangos 

I  Medcl  cites  an  auto  by  Lope  entitled   La   Adultera  perdo- 
nada.] 

2.  Enmendar  un  Daiioaotro:  Arl.;  Brit. Mus.;  Duran;  J.R.  C; 
[A  work  of  Calderon's  school.] 

Infanzon  (El)  de  Illescas  :  «  RepresentolaAvendano.  »  Snelta 
xviii  century.  Brit.  Mus. 

[Printed  in  Doie  Comedias  de  Lope  de  Vega  y  otros  Atitores, 
Barcelona,  1630,  and  in  Parte  XXVII,  extravagante,  Barcelona, 
1633,  under  Lope's  name.  There  is  a  MS.  copy  ascribed  to 
Gabriel  Tellez,  in  the  Cat.  Bib.  Nac.  No.  1593,  with  a  license 
dated  Zaragoza,  Dec.  30,  1626,  Acad.  /X.J 

I  This  play  is  no  longer  doubtful  and  should  not  figure  in 
this  list.  I 

3.  Merito  (El)  en   la  Templanza,  y  Ventura  por  el    Sueno. 
Duran  ;  J.R.C. 

[A  feeble  and  affected  play,  with  no  trace  of  Lope's  style.] 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  7 1 

4.  Nacimiento  (El)  del  Alba.  Arl.;  Brit.  Mus.;  Vienna;  Hol- 
land; J. R.C. 

5.  Valor  perseguido  (El)  y  Traycion  vengada.  Osuna,  Tomo 
132. 

[A  play  with  this  title  exists  in  a  siiella  (J. R.C.)  which 
bears  the  name  of  Montalvan.] 

Printed  in  this  form  only 28 

Doubtful 5 

«  SUELTAS  »  IN  DURAN's  LIBRARY  (ACCORDING  TO  THE  «  INVENTARIO  » 

OF    1865)  '. 

Pieces  admittedly  by  other  known  authors  are  marked  +. 

Amor  enamorado  (El).  Fega  del  P. 

Animal  (El)  de  Ungria.  (Modern.)  Parte  IX.  S.  ;  J. R.C. 

Animal  Profeta  (El).  (By  Mescua?)  S.  ;J.R.C. 

[Published  as  Lope's  in  the  Academy's  edition,  Vol.  IV. J 

-|-  Antes  que  te  cases,  etc.  S.  ;  J. R.C.  [This  is  Alarcon's 
Examende  Maridos.] 

Arcadia  (La).  (Modern.)  Parte  XIIL  S. ;  J.R.C. 

Batalla  (La)  de  Honor.  Parte  VIL  S. ;  J.R.C. 

Bella  Andromeda  (La).  S.;  J.R.C.  (Fabula  de  Perseo.  Parte 
XVL) 

Boba  discreta  (La).  S. ;  J.R.C.  (Dama  boba.  Parte  IX.) 

Burlas  veras  (Las).  S.;  J.R.C. 

+  Si  el  Caballo  vos  han  muerto.  S. ;  J.R.C.  (By  Guevara.) 

+  Capitan  Belisario  (El).  S.  ;  J.R.C.  (ByMira  de  Mescua.). 

Carbonera  (La).  S. ;  J.R.C. 

Casamiento  (El)en  la  Muerte.  Parte  I.  S.;  J.R.C. 

Castigo  (El)  sin  Venganza.  Parte  XXL  S.  ;  J.R.C. 

Cerco  (El)  de  Viena,  etc.  S. ;  J.R.C. 


I.  Plays  marked  *  have  been  printed  since  Chorley's  time.  Total...  28.  This 
Inventario  \ya.s  issued  bv  the  Director  of  the  Biblioteca  Nacional. 


72  HUGO   A.    RENNERT 


[Ciudad(La)  sin  Dios.  S.;  J.R.C.  Hartzenbusch's  list.] 

[Competencia  (La)  en  los  Nobles.  S.;  j.R.C;  Hartzenbusch's 
list.] 

Contra  Valor  no  ay  Desdicha.  Parte  XXIII.  S.  ;  J.R.C. 

Creacion  (La)  del  Mundo.  S. ;  J.R.C. 

+  Cruz  (La)  en  la  Sepultura.  [Huesca,   1634.  %   Calderon.J 
S.  ;  Brit.  .Mas. 

Dama  melindrosa  (La).  S.  ;  I.R.C.  (Parte  IX.  Los  Melindres 
deBelisa.) 

David  perseguido.   S.  ;  J.R.C. 

Defensa(La)  en  la  Verdad.  S.;  J.R.C. 

Desprecio  agradecido  (El).  Fega  del  P.  Parte   XXV.  S. ;  Brit. 
Mus. 

[Escog.  XXXIX,  with  the  title  La  Dicha  par  el  Desprecio,  and 
ascribed  to  Matos  Fragoso:] 

Dineros  son  Calidad.  Parte  XXIV.  Zaragoza,  1632.  S.;  J.R.C. 

Doncellas  (Las)  deSimancas.  S.  ;  J.R.C. 

+  Dos  Agravios  sin  Ofensa.  S. ;  J.R.C.  [Supposititious  work.] 

[Enemigo  enganado  (El).  Dif.  XXXII;  J.R.C.  fragment;  Hart- 
zenbusch's List.] 

[Enganar  a  quien  engafia.  MS.  copy.  J.R.C.  Doubtful;  Hart- 
zenbusch's List.] 

[Enmendar  un  Dano  a  Otro.  S.,  J.R.C.  Doubtful;  Hartzen- 
busch's List.] 

Estrella  (La)  de  Sevilla.  S.  ;  J.R.C. 

H-  Fernan  Mendez  Pinto.  Parte  Primera  y  Segunda.  S.;  J.R.C. 
[By  Enriquez  Gomez. J 

Fianza  satisfecha  (La).  S. ;  J.R.C. 

Fuerza  lastimosa(La).  (Modern.)  Parte II.  S.  ;  J.R.C. 

+  Gran  Cardenal  (HI)  de  Espana.  [By  Enriquez  Gomez]. 

Guante  (El)  de  Dona  Blanca.  Fega  del  P.  S.  ;  Brit.  Mus. 

Guerras  de  Amor  y  Honor.  S. ;  Brit.  Mus. 

Hijo  (El)  de  los  Leones.  Parte  XIX.  S. ;  Brit.  Mus. 

Horca  (La)  para  su  Dueno.S.;  Holland;  Parte  XV.  (La  hermosa 
Ester.) 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  73 

+  Industria  (La)  contra  el  Poder.S.;  Brit.  Mus. ;  J.R.C.[This 
play  is  generally  ascribed  to  Calderon,  but  in  the  Vcrdadcni 
Oiiinta  Parte  (^16'^)^')  o{C:i\(\Qron,  it  is  mentioned  as  one  of  the 
coinedias  which  pass  under  his  name  but  which  he  did  not 
write.] 

Jardin  (El)  de  Vargas.  S. ;  J.R.C. 

[Labrador  (El)  del  Tormes.  S.;  J.R.C.  Hartzenbusch's  List.] 

+  Loquees  un  Coche  en  Madrid.  S.;  J.R.C.  [By  Mendoza.] 

Locos  (Los)  de  Valencia:  Parte  XIIL  Modern. 

Marques  (El)  de  las  Navas.  Parte  XXIL  Zaragoza,  1630.  S. ; 
J.R.C. 

Martires  (Los)  de  Madrid.  S. ;  J:R.C. 

Mas  mal  ay  en  la  Aldeguela,  etc;  S.;  J.R.C. 

[Mas  valeis  vos,  Antona,  etc. S.;  J.R.C.  Hartzenbusch's  List.] 

Mayor  Vitoria  (La).  Modern.  Parte  XXII,  Madrid,  1635.  [It 
is  not  in  the  edition  of  Zaragoza,  1630.]  S. ;  J.  R.C. 

Mayor  Vitoria  (La)  de  Alemania.  Vega  del  P.  Parte  XXIV, 
Zaragoza,  1641. 

Mayor  Prodigio  (El). 

Mayor  Virtud  (La)  de  un  Rey.  Vega  del  P. 

Merced  (La)  en  el  Castigo.  Doubtful.  S.  ;  J.R.C: 

[Merito(El)  en  laTemplanza,  etc:  Doubtful.  S.;J.R.C.;  Hart- 
zenbusch's List.] 

Milagro  (El)  por  losZelos.  Modern.  S. ;  J.R.C. 

Milagros  (Los)  del  Desprecio.  Escoc;.  X.  S.  ;  J.R;C. 

Mocedades  (Las)  de  Bernardo    del  Carpio.    Parte  XXIX  de 
Huesca.  S.;  J.R.C. 
Moza  (La)  de  Cantaro.  Modern.  Dif.  XXXVII.  S.  ;  J.R.C. 

Nacimiento  (El)  del  Alba.  S. ;  J.R.C: 

Nacimiento  (El)  de  Christo.  Parte  XXIL  Zaragoza,  1641. 

[Niiio  Diablo  (El).  S.  ;  J.R.C. ;  Hartzenbusch's  List.] 

[Nobles  (Los)  como  han  de  ser.  S.;  J.R.C;  Hartzenbusch's 
List.] 

Obras  son  Amores.  Parte  XL  S. ;  J:R.C. 


"4  HUGO    A.    RENNERT 


Palacio  confuso  (El).  [Dif.  XXr/// (Huesca,  1634);  stated 
by  Nicolas  Antonio  to  be  in  Parte  XXIV  (Madrid,  1640).  In 
Eco^.XXFIII  (1667)  it  is  ascribed  to  Mescua.] 

Pedro  de  Urdemalas  :  «  de  Montalvan». 

Plevto  (El)  por  la  Honra,  etc.  S.,  J.R.C. 

Porfi.indo  vence  Amor.  Fega  del  P  . 

Premio  (El)  del  bien  hablar.  Modern.  Parte  XXI.  S.  ;  J.R.C. 

Prodigio  (El)  deEtiopia.  S.  ;  J.R.C.  [Academy  IV.J 

Rey  don  Pedro  (El)  en  Madrid,  y  el  Infanzon  de  lUescas  : 
«  de  Calderon  ».  S. ;  Brit.  Mus. ;  Infanion  dc  lUescas  :  «  de  Lope  ». 

San  Isidro,  Labrador  de  Madrid.  Parte  VII.  Escog.  XXVIII . 

Si  no  vieran  las  Mugeres.  Modern.   Vega  del  P. 

Tres  Diamantes  (Los).  Parte  II.  S. ;  Brit.  Mus. 

Urson  y  Valentia.  Parte  I. 

Valor,  etc...  de  los  Tellos  de  Meneses.  Parte  Primera  y 
Segunda.  S. ;  J.R.C.  [The  Parte  Primera  is  in  Parte  XXI  de  Lope.] 

Ventura  (La)  en  la  Dcsgrnch.  Escog.  XXVIII. 

Ventura  y  Atrevimiento.  S.  ;  J.R.C. 

Villano  (El)  en  su  Rincon.  Parte  VII. 

Yerros  (Los)  [Hierros]  por  Amor.  S.  ;  J.R.C. 


MANUSCRIPTS 

MANUSCRIPT   COMEDIAS    BY    LOPE   DE   VEGA    IX    THE 
BIBLIOTECA    NACIONAL,    MADRID. 

The  following  list  is  taken  from  the  Catalogo  de  las  Pie^as  de 
Teatro  que  se  conservan  en  el  Departamento  de  Manuscritos  de  la 
Biblioteca  Nacumal  by  D.  Antonio  Paz  y  Melia,  Madrid,  1899. 
In  it  are  included  the  collections  of  the  Duke  of  Osuna  and  of 
D.  .\gustin  Duran,  which  are  respectively  indicated  below  by 
the  letters  O  and  D. 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  75 

Acertar  errando,  6  El  Embaxador  fingido.  Printed  in  Seis 
Comedias  de  Lope  y  otros.  Sevilla  or  Lisboa,  1603,  according  to 
Schack,  Nachtrnoe,  p.  40,  but  such  a  volume  is  unknown  to 
me.  Copy  (O). 

Alcaide  (El)de  Madrid.  Doubtful.  Copy  (O). 

Alcalde  (El)  deZalamea.  Copy(D).  Exists  asasiielta(Ho\hnd, 
Chorley).  Printed  in  KlassischeBilhnendichtimgeii  der  Spanier,  von 
Max  Krenkel,  Leipzig,  1887.  (Cat.  B.  N.  No.  420,  the  fifth 
piece.) 

Aldehuela  (La)  y  el  gran  Prior  deCastilla.  Copy  (O.  1623). 
Escog.  XLII. 

Alexandro  el  segundo,  Cesar  el  primer  Traidor;  Copy,  but 
marginal  note  on  last  leaf  of  Act  I,  in  Lope's  hand  (O). 

Almenas  (Las)  de  Toro.  Copy  (O).  Parte  XIV.  [Rocamora, 
Cat.  says  Acts  I  and  Hare  in  Lope's  hand.] 

Amantes  y  Celosos,  todos  son  Locos.  Copy.  [Re-cast  of  a  play 
by  Lope.] 

Amar  como  se  ha  de  Amar.  Copy,  with  a  license  of  1643 
(O). 

Amar  por  Burla.  Copy  (O). 

Amar,  servir  y  esperar.  Copy  (O).  Parte  XXIL 

Amazonas  (Las).  Copy  (O).  [The  opening  lines  show  that 
this  is  the  comedia  of  the  same  title  by  Solis,  which  has  likewise 
been  printed  anonymously  with  the  title  Las  Amazonas  en  Escitia. 
The  play  has  also  been  ascribed  to  Calderon,  but  in  the  Vcrdadera 
Ouinta  Parte  of  Calderon  (Madrid,  1694),  the  editor  distinctly 
states  that  it  was  written  by  Solis.  Tirso's  Amazonas  en  laslndias 
is  now  printed  in  the  edition  by  Cotarelo  {Nueva  Bib.  de  Ant. 
Esp.).  Vol.  I,  1906. 

Amigo  (El)  hasta  la  Muerte.  Copy  (O).  Parte  XL 

Amistad  y  Obligacion.  Copy  (modern).  Parte  XXII  (Zaragoza, 
1630).  [With  slight  changes,  it  is  the  same,  so  Duran  says,  as 
Montalvan's  Lucha  de  Amar  y  Amistad,  v.  Mod.  Lang.  Revieiv 
(1906),  p.  96.] 


-Jb  HUGO    A.    RENNERT 

Amor  (El)  Bandolero.  Copy,  with  censura  of  1645  (D). 
Parte  XXIV  (1632). 

Ainor  con  Vista.  Autograph  (O),  dated  December  10,  1626. 
Printed  hiLihros  Riiros,  Vol.  VI.  Madrid,  1873. 

Amor,  Pleito  y  Desafio.  Autograph  (D)  dated  November  23, 
1 62 1.  Printed  in  Libras  Raros,  Vol.  VI  (1873). 

Amor  secreto  hasta  Zelos.  Copy.  [Re-cast  of  comedia  in 
Part  XIX.] 

Arminda  celosa.  Copy  (D).  [This  is  copied  from  the  auto- 
graph of  1622,  according  to  Duran.  But  see  Life  of  Lope,  p.  304, 
n.  I.] 

Audiencias  delRey  Don  Pedro.  Copy  (O).  [Ascribed  to  Lope 
by  Schack  and  Menendez  y  Pelayo.  Academy  IX.] 

Barlaan  y  Josafat  (Los  dos  Soldados  de  Cristo).  Copy  (O). 
Primera  Parte.  Parte  XXIV  (1641). 

Batuecas  (Las)  del  Duque  de  Alba.  Copy.  Parte  XXIII. 

Bella  (La)  mal  maridada,  6  la  Escuela  de  las  Casadas.  Copy. 
[It  is  a  re-cast  of  Lope's  play  in  Part  II.] 

Blason  (El)  de  los  Chaves  de  Villalba.  Copy.  Parte  X.  Academy 
XL 

Boba  (La)  fingida,  6  Enganar  para  Reynar.  Copy.  [A  re-cast.  | 

Boba  (La)  para  los  otros  y  Discreta  para  si.  Copy  (O). 
Parte  XXI. 

Brasil  (El)  restituido.  Copy(D).  [The  autograph,  dated  Octo- 
ber 23,  1625,  is  now  in  the  Lenox  (New  York  Public)  Library.] 

Buen  (El)  Vecino.  Copy  (D).  Difemites,  XXIIL 

Burgalesa  (La)  de  Lerma.  Copy(O),   161 3.  Parte  X. 

Cardenal  (El)  de  Belen,  San  Jeronimo.  Copy  (D). 
Parte  XIII. 

Carlos  V  en  Lrancia.  Copy.  Parte  XIX. 

Casamiento  (El)  por  Cristo.  Copy  (O).  [Duran  says  it  is  iden- 
tical with  Santa  ftisla,  referring  to  Las  Auroras  de  SevilJa,  in 
Escog.  XXFIL  Doubtful.] 

Celos(Los)  de  Rodamonte.    Copy  (O).  [It   is   probable  that 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  77 

the  play  with  this  title  ascribed  to  Mescua  in  Doce  Comedias  de 
varios  Autores,  Tortosa,  1638,  is  by  Lope.  Huerta  cites  one  by 
Rojas  Zorrilla,  of  which  there  is  a  siicUa  in  the  Imp.  Lib.  at 
Vienna  (M-B,  p.  15s);  La  Barrera  also  ascribes  the  latter  play 
to  Rojas,  and  a  play  with  this  title  is  in  Parte  I  of  his  Comedias, 
Madrid,  1640.] 

Ciudad  (La)  sin  Dios.  Copy.  (D).  Escog.II.  {a.s  El  Inobediente, 
6  la  Ciudad  sin  Dios,  by  Claramonte).  [It  is  ascribed  to  Lope  in 
Parte  XXVI,  extravagante,  1632-33.  It  is  a  re-cast  by  Claramonte 
of  Lope's  play  :  Academy  III.] 

Comendadores  (Los)  de  Cordoba  (El  Honor  desagraviado). 
[The  MS.  numbered  635,  Cat.  B.  N.  p.  100,  is  given  in  the 
«  Adiciones  »,  p.  721,  as  an  autograph  of  Claramonte.  Lope's 
coiuedia  in  Parte  II,  is  quite  different.] 

Competencia  (La)  en  los  Nobles.  Copy  (D).  Suelta,  J.R.C. 
and  Bib.  Nac. 

Contienda  (La)  de  Garcia  de  Paredes  y  el  Capitan  Juan  de 
Urbina. 

Copy,  dated  1600,  Cat.  B.  N.  No.  1750.  Acad.  XL 

Cordobes  (El)  valeroso,  Pedro  Carbonero.  [Autograph,  dated 
Ocaiia,  August  26,  1603.]  Parte  XIV. 

Corona  (La)  de  Ungria  y  la  injusta  Venganza.  [Copy 
(modern)  of  the  autograph,  which  latter,  dated  December  23, 
1633,  is  in  the  Archives  of  the  Marques  de  Astorga.] 

Cuerdo  loco  (El)  6  Veneno  saludable.  Copy.  (D).  [The  auto- 
graph, dated  November  11,  1602,  is  in  the  collection  of  Lord 
Holland  (Chorley).  On  page  526  of  Cat.  B.  N.  Duran  is  quoted 
as  saying  that  the  autograph  of  this  coinedia,  dated  at  Madrid, 
November  11 ,  1 602,  with  various  licences  down  to  the  year  1 6 1 7, 
was  formerly  in  the  Archives  of  the  house  of  Astorga.  As  these 
Archives  have  been  notoriously  plundered,  not  only  of  MS., 
but  also  of  printed  books,  it  may  account  for  Lord  Holland's 
ownership  of  this  autograph.] 

Dama  (La)  boba.  [Autograph,  (O)  dated  Madrid,  April  28, 
1613.]  Parte  IX. 


7 8  HUGO    A.    RENNERT 


De  Cosaiio  a  Cosario.  [A  MS.  of  the  nineteenth  century  is 
indicated  in  Cat.  B.  N.  No.  3740,  p.  584.]  Parte  XIX. 

Dc  cuando  aca  nos  vino  (O).  [Written  in  collaboration  with 
Fr.  Alonso  Remon.  The  first  and  third  acts  are  in  Lope's  hand, 
the  second  in  that  of  Remon.  Moreto's  De  fiicra  vcndrd  is  taken 
from  this  play.]  Parte  XXIV,  Zaragoza,  1633. 

Defensor  (El)  de  las  Mugeres,  6  El  Premio  del  bien  hablar. 
[This  MS.  is  a  re-cast  of  Lope's  play  in  Parte  XXI.j 

Del  Monte  sale  quien  el  Monte  quema.  Autograph  (O),  dated 
October  20,  1627. 

Desden  (El)  vengado.  Autograph  (O),  signed  at  Madrid, 
August  4,  1617.  Escog.  XVI,  as  being  by  Rojas  Zorrilla. 

Devocion  (La)  del  Rosario  (?).  Copy  (D).  [Ascribed  to  Lope 
and  different  from  Diamante's  play  of  the  same  title.  Cat.  B.  N. 
No.  899.] 

Dineros  son  Calidad.  Copy  (O).  Parte  XXIV,  Zaragoza, 
1633  ;  Escog.  VI . 

Discordia  (La)  en  los  Casados.  Autograph  (O),  dated  Madrid, 
August  2,  161 1. 

Discreta  (La)  Enamorada.  Copy.  Escog.  Ill .  [This  is  one  ot 
the  sources  of  Moliere's  Ecole  des  Maris.^^ 

Divina  (La)  Vencedora.  Copy  (D).  Third  act  only. 

Don  Lope  de  Cardona.  Copy  (O).  Parte  X. 

Doncella  Teodor  (La).  Autograph  (D),  according  to  Cat.  B. 
N.  No.  996  :  undated.  Parte  IX. 

Enemigo  (El)  enganado.  Copy  (D).  This  MS.  is  copied  from 
a  siiclta.  S ueha  (Dman)  :  Difcrentes  XXXII . 

Enganar  a  quien  engafia.  Copy.  SueJta  (Osuna ;  Duran). 

Engano  (El)  en  la  Verdad.  Copy.  (O).  «  Representola  Va- 
llejo  ».  Cat.  B.  N.  No.  420.  Doubtful.  [This  differs  from  the 
sitelta  (Osuna;  Duran;  J.R.C.)]  Paz  y  Melia  says  this  play  is 
different  from  one  of  the  same  title  signed  by  Jacinto  Lopez.  MS. 
No.  1 103  of  a  play  called  El  Engano  en  la  Verdad  \s  entirely  dif- 
ferent from  No.  420,  and  is  ascribed  by  Duran  to  Matias  de  los 
Reyes. 


BIBLIOGRAPHY    OF    LOPE   D£    VEGA  79 

Enmendar  un  Dano  a  otro.  Copy  (D).  Stwlla  {Duran  ;  J.K. 
C).  Doubtful. 

Esclava  (La)  por  Amor.  A  re-cast  of  LaEsclava  de  su  Galan  in 
Parte  XXV. 

Esclavo  (El)  fingido.  Copy.  Ascribed  to  Lope.  La  Jkirrera  in 
a  note  thinks  this  may  be  Lope's  Esclavo  por  su  Gusto.  Doubtful. 

Escolastica  (La)  celosa.  Copy  (O).  Parte  L 

Favor  (El)  agradecido.  Autograph  (?),  dated  at  Alba  de  Tor- 
mes,  December  19,  1593.  Parte  XV. 

Fianza  (La)  satisfecha.  Copy  (O).  Ascribed  to  Calderon. 
Suelta  (Holland;  J.R.C).  Academy  V.  [Rocamora,  Cal.  No. 
583,  gives  it  as  Lope's.] 

Flores  (Las)  de  Don  Juan  y  Rico  y  Pobre  trocados.  Copy 
(O).  Parte  XIL 

Fortuna  (La)  merecida.    Copy.  Parte  XL 

Fray  Diablo  (El  Diablo  Predicador).  Copy,  dated  Madrid, 
October  i,  1630.  Inedited. 

Fuerza  (La)  lastimosa.Copy,  xvii  century  (O).  Parte  II,  and 
in  Couiedias  Nnevas.  Amst,  1726. 

Fundacion  (La)  de  la  Alhambra  de  Granada.  Copy.  Very 
doubtful.  Printed  in  Sets  Comedias  de  Lopey  olros,  Madrid  &  Lis- 
boa,  1603. 

Gallardo  (El)  Jacimin  y  el  Hidalgo  Abencerraje.  Copy  (O). 
Printed  in  Parte  XVII  with  the  title  El  Hidalgo  Abencerraje. 

Gata(La)  de  Mari-Ramos  (El  Jardin  de  Vargas).  Copy  (D). 
The  third  act  is  wanting.  Suelta  (Duran). 

Glorioso  (El)  San  Martin.  V.  San  Martin. 

Gran  Capitan  (El).  Copy  (O).  Attributed  in  the  MS.  to 
D.  Diego  Aguayo.  «  En  el  Indice  de  Medel  se  atribuye  esta  come- 
dia  a  Lope;  en  el  de  Huerta,  a  Aguayo;  aunque,  segun  opinion 
no  fundamentada,  de  Chorley,  por  m.era  errata  de  imprenta.  »  (D) 
Duran  registers  it  as  Lope's,  and  says  that  it  may  be  identical 
withLcf  Mayor  Victoria  deAlemania.  To  judge  by  the  lines  given 
in  Paz  y  Melia's  Cat.,  No;  1408,  it  is  a  different  play.  Doubtful. 


8o  HUGO    A.    RENNERT 


Gran  Columna  fogosa  (La)  :  San  Basilio  Magno.  Copy,  and 
entitled:  Grn)i  CoJiniiim  fnmosa  ;  original  Aprohacioncs  at  Plasen- 
cia,  1629.  Printed  in  Academy,  VI. 

Guante  (El)  de  Doiia  Blanca.  Copy.  Dif .  XXIX,  Valencia, 
1636  :  XXX,  Zaragoza,  1636;  XLIV,  Zaragoza,  1652  :  Vega  del 
Paniaso  :  Obras  Sueltas,  IX. 

Guardar  y  guardarse.  Copy  (O).  Parte  XXIV,  Zaragoza, 
1641. 

Hazaiias  (Las)  del  Cid  y  su  Muerte,  con  la  toma  de  Valencia. 
Copy.  See  Cat.  B.  N.  Nos-  895  and  1476.  Printed  at  Lisboa  and 
Madrid,  1603.  This  play  is  certainly  not  Lope's. 

Hechos  (Los)  de  Garcilaso  de  la  Vega  y  Moro  Tarfc.  Copy. 
Acad.  XL 

Hermosura  aborrecida  (La)  y  Desdichada  firme.  Copy.  Parte 
VII. 

Hijo  (El)  por  Engano,  Cerco  de  Toledo  y  Rey  D.  Alfonso  de 
la  Mano  horadada.  Copy  (D).  In  Dt^e  Coviedias  uucitas,  Barce- 
lona, 1630.  Acad.  VIII. 

Hijo  (El)  sin  Padre.  Copy  (D).  Parte  XXIV,  Madrid,  1640. 
This  is  a  different  play  from  El  Hijo  de  si  mismo  in  P.,  andP-. 

Honra  (La)  por  la  Muger.  Copy,  dated  1622  (O).  Parte 
XXIV,  Zaragoza,  1633.  Though  Sr.  Paz  y  Melia  says  that  it  is 
not  in  this  volume,  I  find  it  in  my  copy.  La  Barrera  ascribes  it 
to  Luis  Gomez,  who  was  the  copyist. 

Infiinzon  (El)  de  Illescas  :  El  ReyD.  Pedro  en  Madrid.  Copy 
(O).  In  Cat.  B.  N.  No.  1593  we  read  :  «  Comedia  de  Fr.  Gabriel 
de  Tellez.  Licencias  de  Zaragoza,  30  de  Diciembre  de  1626  ».  Is 
this  ascription  to  Fr.  Gabriel  de  (^sic)  Tellez  on  the  MS.  or  was 
it  added  by  Sr.  Paz  ?  Cotarelo  (Tirso  de  Molina.  Iiivestigacioiies, 
etc.,  Madrid,  1893,  P-  121),  speaking  of  this  Osuna  MS.  says 
that  it  is  composed  of  two  distinct  manuscripts,  the  most  ancient 
consistingof  the  parchment  cover  and  the  last  two  leaves,  with 
the  license  dated  Zaragoza.  1626.  The  rest  of  the  MS.  according 
toMend-ndez  y  Pelayo  (Academy,  IX,  p.  clxxii)  is  «  tambien  de 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  8 1 

hiepoca  »,  and  that  its  author  is  given  as  Andres  de  Ciaramontc. 
Alluding  to  this  same  MS.  Mcn^ndcz  further  says  (p.  clxxiv)  : 
«  La  copia  manuscrita  de  El  Rey  D.  Pedro  de  Madrid,  que  se 
titula  Comedia  famosa  de  Andres  de  Claramonte,  y  que  aparece 
hecha  por  un  tal  Francisco  de  Henao  y  Romam,  para  Juan  Acacio 
Bernal  y  Bergara,  etc.  Juan  Acacio  was  a  well  known  aitlor  de 
comedias  (theatrical  manager)  of  the  time.  Claramonte  died  on 
September  19,  1626  at  Madrid.  See  my  Spanish  Stage  in  the 
Time  of  Lope  de  Vega,  New  York,  1909,  pp.  411,  455.  £"/  Infanxpn 
dc  lUescas  is  printed  in  Parte  XXVII  (extravagante),  Barcelona, 
1633,  under  Lope's  name.  It  was  plagiarized  by  Moreto  in  his 
Valientejusticieroy  Ricohombre  de  Alcalci.  Academy,  IX. 

Labrador  (El)  del  Tormes.  Copy  (D).  Duran  says  it  is  identi- 
cal with  Lo  que  puede  un  Agravio.  Snelta(Dm2in;  Holland;  J. R. 
C). 

Laura  perseguida.  Copy.  Parte  IV. 

Leal  (El)  Criado.  Copy.  Parte  XV. 

Lealtad  (La)  en  la  Traycion  y  el  Honor  en  el  Agravio.  Copy 
(D).  Duran  copied  this  from  a  siielta  owned  by  D.  Manuel  Casal. 
La  Barrera  states  that  there  was  a  MS.  of  this  play,  dated  1617, 
in  the  Duran  collection. 

Ley  (La)  executada.  Copy  (Gayangos)  of  the  impression  ot 
1633.  Cat.  B.  N.  No.  3910.  Parte  XXIV,  Zaragoza,  1633. 

Libertad  (La)  de  Castilla  por  el  CondeFernan  Gonzalez.  Copy. 
Printed  at  Lisboa  and  Madrid,  1603.  It  is  not  Lope's. 

Lo  que  pasa  en  una  Tarde.  Autograph,  dated  Madrid,  Novem- 
ber 22,  16 1 7.  Inedited  ? 

Loco  (El)  por  Fuerza.  Ascribed  to  Lope  in  a  copy  of  the  xvii 
century  and  mentioned  by  Medel  and  Huerta. 

Locos  (Los)  de  Zaragoza.  Copy,  modern.  It  is  Los  Locos  de 
Valencia  of  Parte  XIII. 

Llegar  en  ocasion.  Copy  (O).  No.  1937  of  Cat.  B.  N.  is  Lope's 
play,  printed  in  Parte  VI.  No.  1936  is  a  different  play. 

Madre  Teresa  de  Jesus  (La) :    Fundadora  del  Carmen  (O). 

REVUE    HISPANIQUE.    G.  6 


82  HUGO    A.    RENNERT 


Cat.  B.  X.  Xo.  1941.  Leaves  6-10  of  Act  2  are  said  to  be  in 
Lope's  hand.  This  is  the  play  that  was  printed  in  Dace  Coiitedias, 
etc.  Tortosa,  1638,  under  the  name  of  Luis  Velez  de  Guevara, 
and  which  has  been  re-printed  in  Acad.  v.  Prof,  Restori  (Z///. 
XXII,  282)  found  at  Parma  an  anonymous  MS.  entitled  Fida  y 
Muerte  de  S\  Teresa  de  Jesus  which  differs  greatly  from  the  above 
play,  though  the  second  act  is  substantially  the  same,  while  shew- 
ing many  and  important  variations.  There  is  another  MS. 
Xo.  3489  in  the  Bib.  Xac.  The  latter  seems,  from  the  opening 
line,  to  be  the  same  as  the  Parma  manuscript. 

Maestro  (El)  de  Danzar.  Copy.  The  original  was  dated  Alba, 
1594.  Escog.  III. 

Marmol  (El)  de  Felisardo.  Copy.  (O).  Parte  VL 

Martires  (Los)  de  Japon .  Copy  (O).  It  is  ascribed  to  Lope  in 
this  MS.  (No.  2034)  though  on  the  title-page  of  the  third  act  it 
is  attributed  to  Mira  de  Mescua.  Copy  made  at  Lisboa  in  1637. 
Academy  v.,  with  the  m\e  Los  pritneros  Martires  del  Japan. 

Mas  pueden  Zelos  que  Amor.  Copy  (D)  :  incomplete, 
with  some  autograph  pages.  Escogidas,  III. 

Mas  valeis  vos,  Antona,  que  la  Corte  toda.  Copy  (modern)  ot 
a  suelta  belonging  to  Casal,  with  the  added  title  La  Duqiiesa  de 
Bretana. 

Mayor  Corona  (La).  Copy  (O),  incomplete . 

Mayor  Dicha  (La)  en  el  Monte  y  la  Gloria  en  el  Martirio. 
Copy  (O).  Inedited. 

Mayor  Hazana  (La)  de  Alejandro  Magno.  Copy  (O).  Diffe- 
rent from  Las  Gra}jde:^as  de  Alejandro.  Inedited. 

Mayorazgo  (El)  dudoso.  Copy  (O).  Parte  II. 

Mejor  Enamorada  (La):  la  Magdalena.  Copy  (O).  No.  2120, 
Cat.  B.  N.  Another  MS.  No.  3979.  (Acts  II  and  III  only) 
with  corrections  in  the  hand  of  Don  Francisco  de  Roxas,  is  from 
the  Gayangos  collection.  Inedited. 

Merito  (El)  en  la  Templanza,  y  Ventura  por  el  Sueiio.  Copy, 
made  bv  Diiran  from  Casal's  suelta. 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  83 

Montanesa  famosa  (La)  :  (La  Amistad  pagada).  Copy  (O). 
Parte  L 

Mudanzas  (Las)  de  Fortuna,  y  Succsos  de  D.  Beltran  dc  Ara- 
gon.  Copy.  (O),  with  date  1610  on  title-page.  [Rocamora  says 
this  is  an  autograph.]  Parte  III,  oi  Comedias  de  Lope  y  otros,  1612. 

Muertos  vivos  (Los).  Copy.  (D).  Parte  XVIL 

Necedad  (La)  en  el  Discreto.  Copy  (O).  Attributed  to  Calde- 
ron.  This  cannot  be  Lope's  La  Necedad  del  Discreto  of  Parte  XXV, 
to  judge  by  the  opening  and  closing  lines.  It  is  ascribed  to 
Lope  in  Rocamora's  Catalogue^  No.  909. 

Ninez  (La)  del  Padre  Rojas  (Primera  Parte  de  so  Vida). 
Autograph  (O),  dated  at  Madrid,  January  4,  1625.  Escog. 
XVIIL 

Niiio  Diablo  (El).  Primera  Parte.  Copy  (O).  This  is  not 
Lope's,  for  the  name  Lauro  in  the  concluding  lines  shows  that  it 
is  by  Luis  Velez  de  Guevara. 

Nobles  (Los)  como  han  de  ser.  Copy  (D).  Suelta,  J.R.C. 

Noche  (La)  Toledana.  Copy  (O).  Parte  III  de  Lope  y  olros. 
1612. 

Novios  (Los)  de  Hornachuelos.  Copy.  Ascribed  in  this  MS.  to 
Velez  de  Guevara  and  Medrano.  Another  copy,  Osuna,  incom- 
plete, ascribes  it  to  Guevara.  See  below.  Academy,  X. 

Nuestra  Senora  de  la  Candelaria  y  sus  Milagros  y  Guanches  de 
Tenerife.  Copy  (O).  To  judge  by  the  beginning  and  concluding 
lines  this  cannot  be  Los  Guanches  de  Tenerife y  Couqnistade  Cana- 
ria  of  Parte  X.  At  the  end  of  the  MS.  a  second  part  is  promised. 

Nueva  Victoria  (La)  de  D.  Gonzalo  de  Cordoba.  Autograph, 
signed  at  Madrid,  October  8,  1622.  Printed  in  Parte  XXIV, 
Zaragoza,  1641,  and  in  the  I' ega  del  Parnaso,  1637,  with  the 
I'nleLa  mayor  Victoria  de  Alemaniade  D.  Gonzalo  de  Cordoua.  It  has 
nothing  to  do  with  the  Great  Captain.  See  Life  of  Lope,  p.  299, 
and  n.  i. 

Nuevos  (Los)  Sucesos  del  Gran  Duque  de  Moscovia.  Copy. 
(O).  It  is  El  gran  Duque  de  Moscovia  of  Parte  VII. 


8^  HUGO    A.    RENNERT 


Xunca  niucho  costo  poco.  Copy  (O),  with  license  ot 
January  4,  1643.  Parte  XXII,  Zaragoza,  1630.  There  is  also  ano- 
ther Osuna  MS. 

Obediencia  (La)  laureada  y  Primer  Carlos  de  Ungria.  Copy. 
(O).  Parte  VI. 

Ocasion  perdida  (La).  Copy  (O).  Parte  II.  Cat.  B.  N.  No. 
2436.  [The  lines  there  given  as  the  concluding  ones  of  the 
segunda  Jornada  are  the  last  lines  in  act  I.] 

Paloma  (La)  de  Toledo.  Copy  (O).  Dif.  XXIX,  Huesca, 
1634.  Academy,  X. 

Pastoral  Albergue  (El).  Copy.  «  Esta  comedia  se  hizo  18  dias 
en  Sevilla.  »  Printed  in  Comedias  incdiias,  Madrid,  1873. 

Pastoral  (La)  de  Jacinto.  Copy  :  only  the  first  and  third  acts, 
the  first  incomplete.  It  is  also  called  La  PastoraJ  de  Jos  Celos. 
Printed  in  G.  y  Lope,  Madrid,  16 17,  as  Los  Jacinios,  y  El  Celoso  de 
si  mismo.  It  also  occurs  with  the  titles  La  Pastoral  de  Albania, 
and  La  Selva  de  Albania.  Parte  XVIII  and  Academy,  V. 

Perdida  honrosa  (La),  6  Los  Caballeros  dc  San  Juan.  Copy 
(D),  from  a  siiclta.  Academy,  XII. 

Perdidas  (Las)  del  que  juega.  Copy  (O),  of  the  first  and 
second  acts  only.  [Rocamora,  Cat.  No.  1021,  says  this  is  an  auto- 
graph.] 

Piadoso  Aragones  (El).  Autograph  (O),  dated  Madrid, 
August  17,  1626.  Parte  XXI  :  Academy,  X. 

Pleito  (El)  por  la  Honra,  6  el  Valor  de  Fernandico.  Copy 
(O).  Printed  in  Docc  Comedias  nneiias  de  Lope  \  otros  a  11  tores,  Bar- 
celona, 1630.  It  is  the  second  part  of  Lope's  La  desdichada  Este- 
fania,  which  precedes  it  in  the  volume  of  Barcelona.  La  Barrera, 
p.  707. 

Poder  (El)  en  el  Discreto.  Autograph  (O),  dated  at  Madrid, 
May  8,  1623. 

Porfia  (La)  hasta  el  Temor.  Copy(O).  Parte  XXIV,  Madrid, 
1640  :  Dif  XXVIII.  (163.))  :  and  Parte  XXVIII  (cxtravagante), 
Zaragoza,  1639.  Barr.  p.  683. 


BIBLIOGRAPHY   OF    LOPE    DE    VEGA  S) 

Principe  (El)  despeiiado.  Autograph  (?)  with  censuras  from 
1607  to  1611.  Parte  VII.  Academy,  VIII.  Menendez  y  Pclayo 
{Ibid.,  p.  xxvii)  says :  «  Lope  de  Vega  signed  this  play  on  Novem- 
ber 27,  1602  :  the  licenses  for  its  representation  in  Madrid  and 
Valladolid  are  of  1603  and  1604.  He  printed  his  text  from  the 
autograph  in  thepossession'of  the  Condesa  de  Torre-Isabel.  »  The 
MS.  in  the  Bib.  Nac.  Cat.  No.  2726,  which  is  also  called  an  auto- 
graph, was  formerly  in  the  possession  of  D.  Salustiano  de  016- 
zaga. 

Principe  (El)  perfecto  :  (Primera  Parte).  The  MS.  bears  an 
imitated  signature  of  Lope  de  Vega,  with  the  date  December  23, 
1 6 14.  Parte  XL  Academy,  X. 

Principe  (El)  perfecto  :  (Segunda  Parte),  with  the  alternative 
title  :  Como  ha  de  ser  un  buen  Rey.  Copy  (O),  with  a  license  of 
1 62 1.  Parte  XVIII.  Academy,  X.  For  these  two  plays  see  the 
alphabetical  list.  Both  these  comedias  are  given  as  autographs 
by  Rocamora. 

Prueba  (La)de  los  Amigos.  Autograph,  dated  Toledo,  Septem- 
ber 12,  1604.  From  the  Olozaga  collection  :  see  below.  Printed 
in  Comedias  ineditas,  Mad.  1873. 

Pusosemeel  Sol,  saliome  la  Luna  :  Santa  Teodora.  Copy  (O), 
lacking  the  beginning  of  Act  III.  It  is  ascribed  in  this  MS.  (Cat. 
B.  N.  No.  2783)  to  Lope  de  Vega,  though  it  is  generally  attribut- 
ed, for  no  good  reasons,  so  far  as  I  am  aware,  to  Claramonte. 

Querer  su  propia  Desdicha  (6  la  Muger  singular).  Cat.  B.  N. 
No.  411 1 .  It  is  a  re-cast  of  Lope's  play. 

Quien  ama  no  haga  Fieros.  Copy  (O).  Parte  XVIII. 

Quien  bien  ama  tarde  olvida.  Copy  (O),  dated  1624.  Parte 
XXII,  Zaragoza,  1630. 

Quien  todo  lo  quiere.  Copy(O).  Parte  XXII,  Madrid,    1635. 

Ramirez  (Los)  de  Arellano.  Copy  (modern).  Parte  XXIV, 
Zaragoza,  1641. 

Rey  (El)  por  su  Semejanza  (en  Asiria).  Copy  (D),  ascribed  to 
Lope  in  the  second  act.  It  is  by  Juan  de  Grajales. 


86  HUGO    A.    RENNERT 


Rey  (El)  por  trueque.  Copy  (D). 

Rico  y  Pobre  trocado,  v.  Flores  (Las)  de  Don  Juan. 

Robo  (El)  de  Dinn.  Copy  (modern).  Parte  XXIII.  Academy, 
III. 

Rosario  (El)  de  los  Hijos  de  Maria.  Copy  (O).  [Not  cited  by 
Duran  or  La  Barrera.] 

Roxillas  —  a  mojiganga,  signed  on  the  last  page  by  Lope  at 
Madrid,  April  28,  161 3.  Cat.  B.  N.  No.  2943. 

Ruysenor  (El)  de  Sevilla.  Copy  (D).  Parte  XVIL 

San  Agustin  (El  divino  Africano).  Copy.  (D).  Parte  XVIIL 

San  Isidro  Labrador  de  Madrid.  Copy.  Parte  VIL  Escog. 
XXVIII.  Academy,  IV. 

San  Isidro  Labrador,  de  Madrid,  y  Victoria  de  las  Navas  de 
Tolosa,  por  el  Rey  Don  Alfonso.  Copy.  A  different  play  from 
the  preceding.  Cat.  B.  N.  No.  545  ^ 

San  Julian  de  Alcala  de  Henares,  6  El  Saber  por  no  saber.  (La 
Vida  de  San  Julian,  lego  de  Alcala.)  Copy  (O).  Parte  XXIV. 
Academy,  V. 

San  Martin.  —  l^his  coiuedia  seems  to  be  entirely  unknown, 
except  that  it  is  mentioned  in  P\  In  the  Cat.  B.  N.  No.  545,  a 
MS.  comedia  is  noted  entitled  :  El  glorioso  San  Martin.  It  is  in  a 
hand  of  the  xvii  century.  Is  this  perhaps  Lope's  comedia  ? 

San  Segundo(de  Avila).  Comedia  finished  at  Alba,  August  12, 
1 594.  Copy  (D).  Cat.  B.  N.  No.  548  (8"'.  Academy,  IV.) 

Santa  Casilda.  Copy:  at  the  end  a  second  part  is  promised. 
Doubtful.  Perhaps  it  is  by  Phelipe  de  Medina  Pores,  for  whose 
name  Lope's  has  been  substituted  on  the  title-page. 

Santiago  el  Verde.  Copy.  (O).  Parte  XIII. 

Santo  Niiio  de  la  Guardia  (El).  Segundo  Cristo.  Copy  (D), 
with  A  censma  at  Malaga,  January  7,  1638.  Parte  VIII  (El  Niiio 
inocente  de  la  Guardia). 

Secretario  (El)  de  si  niisino.  Copy  (O).  Acts  I  and  II  only. 
Parte  VI.  Rocamora  does  not  note  that  it  is  by  Lope.  Cat.  No. 
1222. 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  87 

Sembrar  (El)  en  buena  Tierra.  Copy  (O).  Parte  X.  [Autog. 
in  Brit.  Mus.] 

Si  no  vieran  las  Mugeres.  Copy  (O).  Fega  del  Parnaso  :  Obras 
SueJtas,  X. 

Sin  Secreto  no  ay  Amor.  Copy  (D).  [Autog.  in  Brit.  Mus.  | 

Suerte  (La)  de  los  Reyes,  6  los  Carboneros.  Copy  (D)  of  Acts 
Hand  III. 

Terceros  (Los)  de  San  Francisco.  (La  Tercera  Orden  de  San 
Francisco).  Copy  (D).  [This  play  was  written  by  Lope  and  Mon- 
talvan.]  Academy,  V. 

Toledano  (El)  y  Zeloso  vengado.  Copy  (O). 

Trabajos  (Los)  de  Jacob.  (Sueiios  hay  que  Verdad  son).  Copy. 
Parte  XXIL  See  Schack,  vol.  II,  p.  321. 

Valiente  (El)  Juan  de  Heredia.  Copy  (O).  Inedited. 

Valor  (El)  de  Malta.  Copy  (D).  Academy,  XII. 

Vargas  (Los)  de  Castilla.  Copy.  Academy  X, 

Veneno  (El)  saludable  (El  Cuerdo  Loco),  q.v.  The  autograph 
of  this  comedia,  dated  at  Madrid,  November  11,  1602,  was  for- 
merly in  the  Archives  of  the  house  of  Astorga. 

Ventura  (La)  sin  buscarla;  Re-cast  of  Lope's  play.  Another 
MS.  «  comedia  burlesca  »,  perhaps  a  parody  on  Lope's  comedia. 

Ver  y  no  creer.  Copy,  with  aprobacion  of  August  25,  16 19. 
Parte  XXIV,  Zaragoza,  1633. 

Vida  (La)  de  San  Pedro  Nolasco.  Copy.  Parte  XXIL  Aca- 
demy, V. 

Vida  y  Muerte  de  Santa  Teresa  de  Jesus.  Copy,  v.  Restori, 
Ztft.  XXII,  p.  282. 

Viuda  (La)  Valenciana.  Copy.  Parte  XIV. 

Besides  those  mentioned  in  the  above  list  there  are  several 
manuscript  comedias  ascribed  to  Lope  de  Vega  in  the  following 
work  :  Catalogo  abreviado  de  lo<:  Mamiscritos  de  la  Biblioteca  del 
Excmo.  Sehor  Dnque  de  Osuna  c  Infantado,  por  D.  Jose  Maria 
Rocamora.  Madrid,  1882. 1  give  the  numbers  in  the  Catalogue  : 

356.  El  Caballero  de  Olmedo,  Lope  de  Vega  (con  censura). 


88  }lUGO    A.    RENNERT 


[For  this  manuscript,  see  Life  of  Lope,  p.  165.] 

367.  El  Capitan  Bclisario.  Lope  de  Vega. 

[No.  521  of  the  same  catalogue  reads  :  «  Ejemplo  mayor  de  la 
Desdicha.  Mira  de  Amescua,  con  la  censura  de  Lope  de  Vega 
(autografo).  This  is  the  alternative  title  of  El  Capitan  Belisario, 
which  is  therefore  undoubtedly  Mescua's.  Cat.  B.  N.  No.  1057.] 

416.  El  Conde  Don  Pedro  Velez,  Lope  de  Vega. 

[This  is  a  copy  :  the  autograph,  signed  by  Luis  Velez  de  Gue- 
vara is  in  the  Bib.  Nacional.  Cat.  No.  670.] 

475.  La  Despreciada  Querida.  Lope  de  Vega,  Copy. 

[The  autograph,  signed  by  Juan  Bautista  de  Villegas  on  May 
15,  1 62 1,  is  in  the  Bib.  Nac.  No.  888  (Third  Act  only). J 

487.   Dios  haze  Justicia  a  Todos.  Lope  de  Vega. 

[This  coniedia  is  by  D.  Francisco  de  Villegas,  and  is  printed  in 
Escog.  XLII.  MS.  Bib.  Nac.  Cat.  No.  929.] 

574.  Lafamosa  Montaiiesa.  Lope  de  Vega.  (H.) 

[This  comedia  is  mentioned  in  P.  as  La  Montahesa.  It  is  the 
alternative  title  of  La  Amistad  pagada  and  is  printed  under  this 
latter  title  in  Parte  L  This  Osuna  MS.  is  now  in  the  Bib.  Nac. 
Cat.  No.  2200. j 

671.  La  ilustreFregona.  Lope  de  Vega, 

[This  is  a  burlesque  by  Canizares  on  Lope's  comedia  printed 
in  Parte  XXIV.  (Zaragoza,  1641.) 

950.  Los  Novios  de  Hornachuelos.  Velez  de  Guevara  (auto- 
grafo). 

There  were  two  MSS.  in  the  Osuna  library,  according  to 
Rocamora,  one  of  which  he  calls  an  autograph.  There  are  two 
manuscripts  now  in  the  Bib.  Nac,  presumably  the  same  two, 
though  only  the  second  one  is  marked  (O).  They  are  registered 
by  Paz  y  Melia,  Cat.  B.  N.  under  No.  2391,  but  not  a  word  is 
said  about  an  autograph.  The  first  MS.  bears  a  license  dated 
Valencia,  October  15,  1629,  and  is  ascribed  to  Luis  Velez  de 
Guevara  and  Medrano.  Each  act  is  in  a  different  hand,  the  first  by 
a  hand  oi   the  xviii  century.  The  otlier  MS.  (Osuna)   consists 


BIBLIOGRAPHY    OF    LOPE   DE   VEGA  89 

only  of  acts  I  and  U,  written  by  the  same  hand  that  wrote  act  III, 
of  the  previous  MS.  It  bears  a  date  1627.  The  play  occurs  as  a 
siielta  with  Lope's  name,  but  on  the  authority  of  these  manu- 
scripts it  has  often  been  attributed  to  Guevara.  [Menendez  y  Pelayo, 
however,  has  published  it  as  Lope's  in  Academy,  X.] 

12 14.  El  Santo  Negro  Rosambuco,  6  sea  el  Negro  del  Serafin 
Santo  Nigro  (^/V).  Lope  de  Vega  (con  censura).  f  Paz  y  Melia, 
Cat.  B.  N.  No.  2290,  says  the  play  contained  in  this  MS.  is  by 
Luis  Velez  de  Guevara. J 

1346.  El  Valor  de  Fernandito.  Lope. 

[This  is  Lope's  El  Pleito  por  la  Honra.] 

IN    THE    COLLECTION    OF    SENOR    DON    SALUSTIANO    DE    OLOZAGA. 

La  Prueba  de  los  Amigos.  Autograph,  dated  September  12, 
1604.  P^  (MS.  copy^  Duran).  This  is  now  in  the  Bib.  Nac.  Cat. 
No.  2762. 

Carlos  Quinto  en  Francia.  Autograph,  dated  November  20, 
1604.  P-.  Parte  XIX.  MS.  copy,  Rubi')  This  autograph  is  now 
in  Philadelphia. 

La  Batalla  del  Honor.  Autograph,  dated  April  18,  1608.  P-. 
Parte  VI. 

El  Bastardo  Mudarra.  Autograph,  dated  April  27,  1612.  Parte 
XXIV,  1 64 1. 

I  do  not  know  where  the  last  two  manuscripts  are  now  : 
they  are  not  in  the  Bib.  Nac.  El  Bastardo  Mudarra  was  repro- 
duced in  f^ic-simile  at  Madrid,  in  1864. 

IN    THE    COLLECTION    OF   THE     MARQUES    DE    PIDAL. 

La  Encomienda  bien  guardada.  — Autograph,  dated  April  16, 
1 610.  Parte  XV,  as  La  buena  Guarda. 


90  HUGO  A.  RENNERT 


IN  THE  COLLECTION  OF  DON  CAYETANO  ALBERTO 
DE  LA  BARRERA  '. 

El  Maestro  de  danzar.  Copy.  (P.  Escog.,  III.)  Cat.  B.  N. 
No.  1951. 

El  Esclavo  fingido.  Copy.  (S.  Osuna.  Tomo  132.)  Cat.  B.  N. 
No.  II 60. 

Los  Hechos  de  Garcilaso  de  la  Vega,  y  Moro  Tarfe.  Copy, 
undated.  (P.  Garcilaso  de  la  Vega.)  Cat.  B.  N.  No.  1477. 

BRITISH    MUSEUM    COLLECTION'. 

Lo  que  ha  de  ser.  Copy,  dated  September  2,  1624.  Parte  XXV. 
This  MS.  is  described  as  an  autograph  in  the  Cat.  of  the  Brit. 
Mus.  V.  Life  of  Lope,  p.   311. 

i  Ay.  Verdades !  que  en  Amor.  Autograph,  dated  Novem- 
ber 12,  1625.  (Parte  XXI.) 

La  Competencia  en  los  Nobles.  —  Copy,  with  a  license  dated 
November  16,  1628. 


1 .  This  particular  section  was  drawn  up  by  La  Barrera,  who  stated  tliat  his 
MSS.  of  El  Maestro  de  Danzar  and  El  Esclavofingido  were  autographs.  He  repeat- 
ed the  assertion  in  his  Catdlogo,  p.  437.  However,  in  a  letter  to  Chorley, 
dated  April  t866  he  admitted  that  both  were  merely  copies,  though  he  believ- 
ed (so  he  said),  that  El  Maestro  de  daniar  was  copied  directly  from  the  auto- 
graph. These  manuscripts  of  La  Barrera  were  transferred  after  his  death  to  the 
Biblioteca  Nacional. 

2.  In  two  quarto  volumes,  Egerton  MSS.  '547  and  548. 

Vol.  I  (5  comedias).  Vol.  H  (5  coiuedias). 

1 .  La  hcrmosa  Ester.  i .  Lo  que  ha  de  ser. 

2.  La  Nina  de  Plata  y  Burla  vengada  [?]        2.   \  Ky,  verdades  ! 

3.  El  Galan  de  la  Menbrilla.  3.  Sin  Secreto  no  ay  Amor. 

4.  Santiago  el  Verde.  4.  La  Conpetencia  en  los  Nobles. 

5.  El  Sembrar  en  buena  Tierra.  5.  El  Argel  fingido. 

Las  Bi^iirrias  de  Belisa  is  bound  by  itself,  in  a  separate  volume  (Additional 
MSS.  10,529).  As  regards  the  second  piece  in  vol.  I,  which  has  been  hitherto 
confounded  with  La  Nina  de  Plata  in  Parte  IX,  see  Life  of  Lope,  p.  210,  «.  2. 


BIBLIOGRAPHY   OF    LOPE    DE   VEGA  9 1 

The  corrections  have  been  said  to  be  in  Lope's  handwriting, 
but  this  is  a  mistake.  See  Life  of  Lope  de  Vega,  p.  318,  n.  i. 

Sin  Secreto  no  ay  Amor.  —  Autograph,  dated  July,  18,  1626. 
(Copy,  Duran.) 

Pubhshed  by  me  from  this  MS.  and  the  rare  sitcha,  Bahi- 
more,  1894. 

Las  Bizarrias  de  BeUsa.  — Autograph,  dated  May  2^,  163^. 
{Vega  del  P.) 

La  hermosa  Ester.  —  Autograph,  dated  April  5,  16 10.  Parte  XV. 

El  Galan  de  la  Menbrilla. — Autograph,  dated  April  20,  161 5. 
Parte  X.  ?\ 

Santiago  el  Verde.  —  Autograph,  dated  161 5.  Act  II,  is  miss- 
ing. 

[See  my  article  in  Modern  Language  Notes,  June  1893.] 

El  Sembrar  en  buena  Tierra.  — Autograph,  dated  January  6, 
161 6.  Parte  X.  P\ 

El  Argel  fingido.  P.  Parte  VIII. 

[According  to  Schack  the  play  is  dated  1610:  but  this  is 
impossible,  for  the  piece  is  mentioned  in  P.  The  last  leaf  is 
missing  in  the  Brit.  Mus.  copy.] 

TICKNOR    COLLECTION. 

El  Castigo  sin  Venganza.  —  Autograph,  dated  August  i,  163 1. 
Parte  XXI. 

[See  Life  of  Lope,  pp.  339  and  foil. J 

HOLLAND    COLLECTION. 

El  Marques  de  lasNavas.  — Autograph,  dated  April  22,  1624. 
(Parte  XXII,  Zaragoza,  1630.) 

Barlan  y  Josafa.  —  Autograph,  dated  February  i,  16 11. 
(Parte  XXIV,  Zaragoza,  1641;) 

El  Caballero  del  Sacramento.  —  Autograph,  dated  April  27, 
1610.  (P^  Parte  XV.) 


92 


HUGO    A.    RENNERT 


El  Cucrdo  loco.  —  Autograph,  dated  November  ii,  1602. 
(P.  Parte  XIV.) 

Antonio  Roca.  P.  [Copy  (?)). 

Peribanez  y  el  Comendador  de  Ocaiia.  (P-.  Parte  IX.) 

Copy,  with  corrections  that  seem  to  be  in  Lope's  hand. 

La  Villana  de  Getafe.  —  Copy.  (Parte  XIV.) 

Las  Perdidas  del  que  juega. — Copy.  [According  to  La  Barrera 
the  autograph  was  in  the  Osuna  Collection  :  see  Catalogo, 
p.  435.  Rocamora,  No.  1021,  also  notes  it  as  an  autograph. 
Cat.B.  N.  No.  2576. J 

El  Valor  de  Malta.  Copy.  [Another  copy  was  in  Duran's  Col- 
lection. See  Cat.  B.  N.  No.  3409. J 

San  Basilio.  —  Copy.  [Another  copy  in  Duran's  Collection. 
La  gran  Colnmna  fogosa.  Cat.  B.  N.  No.    14 12. J 

El  Duque  de  Berganza.  (Parte  VIII.  El  mas  galan  Portiigites.) 

Fuente  Ovejuna.  —  Copy.  (Parte  XII.) 

La  Noche  de  San  Juan.  — Copy.  (Parte  XXL) 

[Copied,  says  the  first  draft  of  this  bibliography,  in  1635. 
Lope  wrote  the  play  in  June  1631  :  see  Life  of  Lope,  pp.   337- 

339-] 
La  Honra  por  la  Muger.  —  Copy.  (Parte  XXIV,  Zaragoza, 

1633.);  S.;J.R.C. 

La  Humildad  y  la  Soberbia.  —  Copy.  (P-.  Parte  X.) 

-j-  Lo  que  es  un  Coche  en  Madrid.  —  Copy.  [This  is  Anto- 
nio Hurtado  de  Mcndoza's  piece  :  Los  Riesgos  que  tiene  un  Cache.] 

Al  pasar  del  Arroyo.  —  Copy.  (Parte  XII.) 

[Finished  on  January  23,  1616.  The  following  are  said  to  be 
copies  of  plays  by  Lope  :  so  far  as  I  could  judge,  when  I  was 
able  to  examine  them,  I  thought  they  were  not  his.  —  J.R.C.] 

La  Soberbia  de  Nembrot,  y  Primero  Rey  del  Mundo. 

[Played  at  the  Prado  Theatre  by  F.  Martinez  de  Mora, 
August  5,  1635.  It  is  probably  the  work  current  as  a  suelta 
(J.R.C.)  with  the  name  of  Enriquez  Gomez  attached  to  it.j  In 
his  Samson  Naiareno,  printed  at  Rouen  in  1656,  Enriquez  Gomez 


BIBLIOGRAPHY    Ol-    LOPE    Dli!    VLGA  93 

mentions  Las  Soherbias  de  Neinbrot  among  the  comedias  that  lie 
had  written.  There  is  a  MS.  in  the  Bib.  Nac.  Cat.  No.  3137, 
in  which  it  is  also  ascribed  to  Enriquez  Gomez. 

La  Orden  dc  Redencion.  y  Virgcn  dc  los  Remedios.  [Chorley 
appends  the  query  :  «  By  Calderon,  or  by  F.  Villegas  and  Jose 
Rojo  ?  »  However,  it  does  not  appear  in  the  list  given  in  Calde- 
ron's  Verdadera  Quinta  Parte.  The  play  by  Villegas  and  Rojo 
{Escog.,  XXF)  is  entitled  :  La  Esclavilitd  mas  dichosa  y  Firgeii  de 
los  Remedios. 

Amar  por  ver  amar.  —  Dated  1659.  License  dated  165 1.  [This 
is  El  Perro  del  Hortelano.  \ 

El  Paraiso  de  Laura  y  Florestas  del  Amor.  —  Dated  1680. 

+  El  Sol  en  el  Nuevo  Mundo  :  Nuevo  Mundo  en  Castilla,  6 
Descubrimiento  de  las  Batuecas,  por  Juan  de  la  Hoz  y  Lope  de 
Vega. 

[Hoz  was  probably  born  in  the  third  decade  of  the  seventeenth 
century  :  he  was  still  living  in  17 14.  He  re-cast  Lope's  coniedia, 
Las  Batuecas,  Parte  XXIIL  In  Duran's  Collection  there  was  a 
MS.  (no  doubt  of  this  same  work)  entitled  El  Descubrimieuto  de 
las  Batuecas  del  Duque  de  Alba  por  Juan  Claudio  de  la  Hoz  :  see 
Cat.  B.  N.  No.  869.  It  is  an  autograph  and  bears  his  signature. 
Another  re-cast  of  Lope's  play  by  Matos  Fragoso  is  given  in 
Escog.  XXXVII,  under  the  title  El  Nuevo  Mundo  en  Castilla.  See 
Restori,  Ztft.,  XXX,  p.  234.] 

IN    THE    LIBRARY    OF    MR.    JOHN    MURRAY. 

Quien  mas  no  puede.  —  Autograph,  dated  September  i, 
16 1 6.  [I  owe  a  copy  of  this  autograph  to  the  kindness  of  my 
friend,  Professor  James  Fitzmaurice-Kelly.] 

IN  THE  SANCHO  RAYON  COLLECTION.  (La  Barrera,  p.  437.) 

Los  Melindres  de  Belisa.  —  Fragment  of  autograph  consisting 
of  the  first  Act  only.  (P^  Parte  IX.) 


94  HUGO    A.    KENNERT 


El  Vaso  (ie  Eleccion,  S.  Pablo.  MS.  of  the  beginning  of  the 
xvii  century.  Medel  :  S.  Pablo  :  Vaso  de  Eleccion. 

IN  THE  GAYANGOS  COLLECTION.  (La  Bari'era,   p.  436.) 

La  Ley  executada.  Copy  (xviii  century)  of  the  play  in 
Parte  XXIV  (1633).  Cat.  B.  N.  No.  3910. 

La  mejor  Enamorada.  La  Magdalena.  P'.  La  Magdckna.  [MS. 
of  the  xvii  century,  incomplete.  Cat.  B.  N.  No.  3979.  Cf. 
No.  2120. 

Querer  su  propia  Desdicha  6  La  Muger  singular.  Re-cast  of 
Lope's  comedia.  Cat.  B.N.  No.  4111. 

La  Noche  Toledana.  MS.  (xix  century).  Copy  of  Lope's  play. 
Cat.  B.  N.  No.  4013. 

La  Viuda  Valenciana.  Re-cast  of  Lope's  play  (xix  century). 
Cat.  B.  N.  No.  4301. 

IN    THE    CONDESA    DE    TORRE-ISABEl's    COLLECTION. 

El  Principe  despeiiado.  —  Autograph,  dated  November  27, 
1602.  Parte  VII ;  Tomo  131  (Osuna)  ;  Academia,  \1II. 

IN    THE    LIBRARY    OF    TOMAS    RODRIGUEZ    RUBI.    MADRID. 

Hartzenbusch,  Comedias  de  Lope,  IV,  p.  x\"i :  «  Me  ha  remi- 
tido  hoy,  13  de  Oct.  de  i860,  un  grueso  tomo  en  4°  MS.  cuyo 
titulo  es  :  «  Libro  de  Comedias  antiguas  no  imprcsas  de  Lope  de 
Vega...  escritas  y  hrmadas  de  su  propia  mano  y  letra  :  sacadas  de 
sits  Totnos  originales...  que  se  hallan  en  cl  Archivo  del...  Duquc  de 
Sessa  :  —  por  D.  Miguel  Sanz  de  Pliegos,  su  archivero.  »  Accord- 
ing to  La  Barrera  (letter  written  in  1863),  the  copy  was  made 
in  1 78 1  and  is  styled  Toffw  IL  This  volume  is  described  in  Cat. 
B.  N.  \o.  371  :  for  a  description  of  Vol.  IV,  see  ibid.  No.  1750. 
Are  volumes  I  and  III  lost?  Vol.  II  contains  the  following 
copies :  El  Blason  de  los  Chaves.  (P.  Parte  X.  Los  Chaves  de 
Villaba.) 


BIBLIOGRAPHY  OF   LOPE    DE    VEGA  95 

Dated  at  Chinchon,  August  20,  1599. 
Laura  perseguida.  (P.  Parte  IV.)  Dated  at  Alba,  October  12, 

1594- 

El  leal  Criado.  (P.  Parte  XV.)  Dated  at  Alba,  June  24,   1594. 

Carlos  V.  en  Francia.  (P-.  Parte  XIX.)  Dated  at  Toledo, 
November  20,  1604. 

The  original  is  now  in  the  library  of  Mr.  J.  T.  Stetson,  Phil- 
adelphia. 

IN  THE  CHORLEY  COLLECTION.  (All  these  are  copies.) 

Amar  por  ver  Amar.  (P- .  El  Perro  del  Hortelano.  Parte  XI.) 
Dated  1659. 

Enganar  a  quien  engaiia.  (S.;Duran;  Osuna,  and  Tomo  132.) 

Espanoles  (Los)  en  Flandes.  (Parte  XIII.) 

Grandezas  (Las)  de  Alexandro.  (Parte  XVI.) 

Lo  que  esta  determinado.  {Escog.,  III.^ 

Llave  (La)  de  la  Honra.  {Escog.,  III.) 

Maestro  (El)  de  danzar.  (P.  Escog.,  III.)  (MS.  Copy,  La  Bar- 
rera,  1594.) 

Mas  pueden  Zelos  que  Amor.  (Escog.,  III.) 

Portuguesa  (La)  y  Dicha  del  Forastero.  {Escog.,  III.) 

Prados  (Los)  de  Leon.  (P^  Parte  XVI.) 

Serrana  (La)  de  Tormes.  (P.  Parte  XVI.) 

Trabajos  (Los)  de  Jacob.  (Parte  XXIL  Madrid,  1635.) 

Discreta  enamorada  (La).  (P-.  Escog.,  III.  S. ;  Holland.) 

CITED  BY   DURAN   IN   AN   UNPUBLISHED  CATALOGUE. 

(La  Barrera,  p.  436.) 

AUTOGRAPHS   IN  THE   ARCHIVES  OF  THE  ASTORGA   FAMILY. 

[These  MSS.  are  in  the  above-mentioned  Vol.  IV,  described 
in  Cat.  B.  N.  No.  750.] 

0  El  Cuerdo  Loco  y  Veneno  saludable.  (P.  Parte  XIV.)  Dated 


96  HUGO    A.     RHNNERT 


Madrid,  November  ii.  1602.  [This  seems  to  be  the  autograph 
already  noted  as  being  now  in  the  Holland  collection.] 

La  Corona  merecida.'(P.  Parte  XIV.)  Dated  1603.  Lost? 

0  La  Corona  de  Ungria,  6  la  injusta  Venganza.  Dated  Decem- 
ber 23,  1633,  with  aaiisiira  of  January  i,  1634.  (Schack  quotes 
this  as  among  the  autographs  belonging  to  Duran,  but,  accord- 
ing to  Cat.  B.  N.  No.  716,  Duran's  was  simply  a  copy.) 

Las  Persecuciones  de  David.  Ancient  MS.  (S.  Brit.  Mus.  ; 
J.R.C.  David  perscgnido.)  [La  Barrera  merely  says  that  this  MS. 
was  «  cited  by  Duran  »  :  he  unfortunately  omits  the  owner's 
name.  Stolen  ?J 

CITED   IN   SALVa's  CATALOGUE,    Pai'is,    1 829-34. 

(La  Barrera,  p.  437.) 

Los  Comendadores  de  Cordoba.  MS.,  contemporary  with  the 
author.  (Parte  K.  [?  P.J  Los  Coiiiciidadores.) 

El  Enemigo  enganado.  MS.,  contemporary  with  the  author. 
(P.  Dif.  XXXILS.  Duran.) 

El  verdadero  Amante  (P.  Parte  XIV)  y  gran  Pastoral  Belarda. 
Ancient  MS. 

Of  the  autographs  in  the  list  on  the  previous  pages,  the  fol- 
lowing are  inedited,  or  at  least  are  not  known  to  have  been 
printed  as  yet : 

1.  La  Discordia  en  los  Casados  (1611). 

2.  Lo  que  pasa  en  una  Tardc  (1617).  [Edited  by  Prof. 
Petrof  (?).J 

3.  El  Poder  en  el  Discreto  (1623). 

4.  Del  Monte  sale,  etc.  (1627). 

The  following,  though  not  autographs,  are  of  interest  as  being 
ancient  and  (mostly)  dated  copies:  (i)  El  Maestro  de  danxfir, 
P.,  Escog.  III.  (La  Barrera),  January  1594.  (2)  El  leal  Criado, 
P.,  XV  (Bib.  Nac),  June  24,  1594.  (3)  San  Scgnndo  de  Avila, 
P.,  Acad.  /F(Bib.  Nac),  August  12,  1594.  {4) Laura perseguida, 


BIBLIOGRAPHY    OV    LOPE    DE    VEGA  97 

P.,  IV  (Bib.  Nac),  October  12,  1594.  (5)  Bclardo  el  Fnrioso, 
P.,  Acad.  V  [undated].  (6)  El  Blason  de  los  Chaves,  P.,  X  (Bib. 
Nac),  August  20,  1599  [with  z  figiira  del  donayre].  (7)  La  Con- 
tienda  de  Garcia  de  Paredes,  P.,  Acad.  XI  (Bib.  Nac),  February  15, 
1600.  (8)  El  Cordobes  Valeroso  (Pedro  Carboncro),  P.,  IV  (Bib. 
Nac),  August  26,  1603.  (9)  Las  Mudan:^as  de  Forliina  y  Siicesos 
de  D.  Belt  ran  de  Arag07i,  P^.,  Parte  III,  Barcelona,  161 2  :  dated 
1610.  (lo)  Argel fingido.  P.,  VIII^  (Brit.  Mus.  undated  ;  assigned 
to  161 3).  (11)  La  Bnrgaksade  Lerma,  P-.,  X(Bib.  Nac),  Novem- 
ber 30,  1613.  (12)  El  Principe perfecto,PsiTtl,P-.,  XI(Bib.  Nac), 
December  23,  16 14.  (13)  £"/  Principe  perfeclo.  Part  II,  P^,  XVIII 
(Bib.  Nac),  January  16,  1616.  (14).  Al  pasar  del  Arroyo.  P^, 
XII  (Holland),  January  23,  1616.  {i^)La  Lealtad  enla  Traycion, 
S.  (Bib.  Nac),  November  22,  1617.  (16)  Ver  y  no  creer,  XXIV 
[Zaragoza,  1633].  (Bib.  Nac),  August  25,  1619.  (17)  En  los 
Indicios  la  Culpa,  XXII  [Zaragoza,  1630]  (Osuna :  not  in  Bib. 
Nac),  1620.  (18)  Z-fl!  Aldegiiela,  S.,  and  Escog.,  XLII  (Osuna  : 
not  in  Bib.  Nac),  November  9,  1622.  (19)  Lo  que  bade  ser, 
XXII  [Zaragoza,  1630].  (Brit.  Mus.),  September  2,  1624.  {26) La 
divina  Vencedora.  P.  (Acts  I  and  II  only,  at  Parma),  1624.  (21) 
£"/  Infanxpn  de  Illescas,  with  a  license  at  Zaragoza,  December  30, 
1626.  (22)  La  Conpetencia  en  los  Nobles,  S.  (Brit.  Mus.),  Novem- 
ber 16,  1628.  (23)  La  gran  Cohimna  fogosa,  Acad.  /F.,  (Bib. 
Nac),  1629.  (24)  La  Noche  de  San  Juan,  XXI.,  (Ho\hnd  ;  undat- 
ed, played  on  June  24,  163 1).  (25)  El  Animal  Profeta,  San 
Julian,  Acad.  IF.  (Bib.  Nac),  163  i.  (26)  La  Corona  de  Ungria. 
Inedited.  Copy  (Bib.  Nac).  The  autograph  was  formerly  in  the 
Astorga  Archives,  dated  December  23,  1633. 

SUMMARY   OF  UNDATED  MANUSCRIPTS  IN   ALPHABETICAL  ORDER. 

The  titles  of  inedited  plays,  or  plays  not  known  to  be  in  print, 
are  given  in  italics.  Manuscripts  only  known  through  the  state- 
ments of  Salva  and  Duran  are  marked  0  and  are  not  taken  into 
numerical  account. 

REVUE    HISPANIQUE.    G.  7 


98  HUGO    A.    RENNERT 


All  the  plays  mentioned  by  Salva  and  Duran  are  in  print. 

1.  Alcalde  (El)  de  Zalamea.  (S.  Holland;  J.R.C.)  Duran 
(Cat.  B.  N.  No.  420.) 

2.  Akaydc  (El)  de    Madrid.    (Medel).   Osuna  (Cat.    B.   N. 

No.  74)-" 

3.  Amar  como  se  ha  de  amar.  S.  (Osuna^  T.  131.)  Osuna 
(Cat.  B.  N.  No.  121)  and  Parma. 

4.  Amor  por  Biirla.  (xMedel).  Osuna  (Cat.  B.  N.  No.    123). 

5.  Amar  por  veramar.  (ElPerrodel  Hortelano).  (P-.  Parte  XI). 
Holland;  J.R.C. 

6.  Amar^  servir  y  esperar.  Osuna  (Cat.  B.  N.  No.  124). 
Parte  XXII,  Madrid,  1635. 

7.  Amigo  (El)  hasta  la  Muerte.  Osuna  (Cat.  B.  N.  No.  132). 
Parte  XI. 

8.  Amistad  (La)  pagada.  (La  Montaiicsa.)  Osuna  (Cat.  B.  N. 
No.  2200).  Academy,  VII. 

9.  Amistad  y  Obligacion.  Osuna  (Cat.  B.  N.  No.  140). 
Parte  XXII. 

10.  Amor  (El)  Bandolero.  Osuna  (Cat.  B.  N.  No.  145). 
Parte  XXIV,  Zarag.,  1633.  Censura  de  1645. 

11.  Antonio  Roca.  Ined.  Holland.  Osuna  (Cat.  B.  N.  No.  220). 
[According  to  this  catalogue  the  MS.  bears  no  name.  Sr.  Paz 
says  :  La  4'\  (sic)  Jornada  autografa  de  Lanini  Sagredo.] 

12.  Argel  fingido.  Brit.  Museum. 

13.  Aniiiiida  celosa.  [See  LZ/i'  of  Lope,  p.  304,  ;/.  i.  Cat.  B.  N. 
No.  252.] 

14.  Audiencias  del  Rey  D.  Pedro.  (Medel).  Anon.  Osuna 
(Cat.  B.  N.  No.  278). 

15.  Batuecas  (Las)  del  Duque  de  Alba.  (Cat.  B.  N.  No.  351), 
XXIII.  Academy,  XL 

16.  Boba  (La)  para  los  otros  y  Discreta  para  si.  S.  MS. 
Osuna  (Cat.  B.  N.  No.  375.  XXL) 

17.  Buen  (El)  Vecino.  Osuna  (Cat.  B.  N.  No.  420).  Dif. 
XXXIIL 


BIBLIOGRAPHY  OV    LOPE    DJ-    VEC.A  99 

i8.  Casamiento  (El)  por  Cristo.  Medel.  Fajardo.  Osuna  (Cat. 
B.  N.  No.  527). 

19.  Celos  (Los)  de  Rodamonte.  Osuna  (Cat.  B.  N.  No.  568). 
Ascribed  to  Mescua  in  Doce  Comedias,  Tortosa,  1638. 

20.  Ciudad  (La)  sin  Dios.  Osuna  (Cat.  B.  N.  No.  420). 

0  Comendadores  (Los)  de  Cordoba.  (P\  Parte  IL  Los  Comcn- 
dadores.  Quoted  by  Salva.  The  MS.  in  the  B.  Nacional,  Cat. 
No.  635,  is  Claramonte's.  v.  ibid.,  p.  721. 

0  David  perseguido.  (S.  J.R.C.  With  the  title  :  Persecuciones 
de  David).  Quoted  by  Salva. 

21.  De  cuandoaca  nos  vino  (with  Fr.  Alonso  Remon  ?).  P-. 
XXIV.  Zarag.  1635.  Cat.  B.  N.  No.  825. 

22.  Devocion  (La)  del  Rosario.  Cat.  B.  N.  No.  899.  Duran. 

23.  Dineros  son  Calidad.  Osuna  (Cat.  B.  N.  No.  928),  v. 
Alphabetical  list. 

24.  Discreta  Enamorada  (La).  Escog.^  III.  (Cat.  B.  N. 
No.  934)-  J-R-C. 

25.  Divina  Vencedora  (La).  Inedited.  Duran  (Cat.  Bib.  N. 
No.  947).  Third  act  only. 

26.  Don  Lope  de  Cardona.  Parma,  Osuna  (Cat.  B.N. 
No.  985).  P\  X. 

27.  Doncella  Teodor  (La).  Autog.  (?)  undated.  D.  (Cat. 
B.N.  No.  996).  IX. 

28.  Don  Gil  dela  Mancha.  Ined.  Osuna  (Cat.  B.  N.  No.  983, 
ascribed  to  Rojas  Zorrilla). 

0  Enemigoenganado(El).  Cat.  B.N.  No.  1090.  (Dif.  XXXII. 
S.  J.R.C.)  Quoted  by  Salva. 

29.  Engaiiar  a  quien  engafia .  Osuna  (Cat.  B.N.  No.  420); 
J.R.C.  (S.  Osuna.  Tomo  132). 

30.  Engafio  (El)  en  la  Verdad.  Osuna  (Cat.  B.  N.  No.  420). 
Doubtful . 

31.  Enmendar  un  Dano  aotro.  Duran  (Cat.  B.  N.  No.  11 09). 
Doubtful . 

32.  Esclavo  fingido  (El).  Cat.  B.  N.  No.  11 60.  (Osuna, 
Tomo  132.  Fajardo,  Comedias  dc  Scvilla). 


100  HUGO    A.     RENNERT 


33.  Escolastica  (La)  celosa.  Osuna  (Cat.  B.  N.  Ko.  1166). 
P.  I. 

34.  Espanoles  (Los)  en  Flandes.  (Parte  XIIL)  J.R.C. 

35.  Fianza  (La)  satisfecha.  Osuna  (Cat.  B.  N.  No.  1265). 
Academy,  V. 

36.  Flores  (Las)de  Don  Juan  y  Rico  y  Pobre  trocados.  Osuna 
(Cat.  B.N.  No.  1307).  P^  Xri. 

37.  Fortuna(La)  merecida.  Duran  (Cat.  B.  N.  No.  13 18).  XL 
Academy,  IX. 

38.  Fray  Diablo  (^El  Diablo  Predicadoi-) .  Duran  (Cat.  Bib. 
Nac.  No.  1324).  This  MS.,  however,  is  dated  at  Madrid, 
October  i,  1630.  Inedited. 

39.  Fuente  Ovejuna.  P-.  (Parte  XII).  HoUand. 

40.  Fuerza  (La)  lastimosa.  Osuna  (Cat.  B.  N.  No.  1339). 
P.  II. 

41.  Fundacion  (La)  de  la  Alhamhra  de  Granada.  Duran  (Cat. 
B.  N.  No.  895).  Lisboa,  1603. 

42.  Gallardo  Jazimin  (El).  (El  Hidalgo  Abencerraje).  Osuna 
(Cat.  B.  N.  No."  1358).  XVII. 

43.  Gata  (La)  de  Mari-Ramos.  (El  Jardin  de  Vargas).  Duran 
(Cat.  B.  N.  No.  1374)- 

-(-  44.  Gran  Cardenal  (El)  de  Espana.  Parte  Segunda.  (Fajardo, 
XXVII,  extravagante).  Medel.  Osuna  (Cat.  B.N.  No.  1409) 
[By  Enriquez  Gomez,  but  La  Barrera  ascribes  to  Lope  a  Gran 
Cardenal  de  Espana,  D.  Pedro  Gon^ale:^  de  Mendo:;ja.] 

45.  Gran  (El)  Capitan.  O.  (Cat.  B.  N.  No.  1408).  See  Alpha- 
betical list. 

46.  Grande/as  (Las)  de  Alexandro.  (Parte  XVI.)  j.R.C. 

47.  Guante  (El)  de  Dona  Bianca.  (Cat.  B.  N.  No.  1429,)  v. 
Alphabetical  list. 

48.  Guardar  y  Guardarse.  Osuna  (Cat.  B.  N.  No.  1432). 

49.  Hcchos  (Los)  de  Garcilaso  de  la  Vega  y  Moro  Tarfe.  La 
Barrera  (Cat.  B.  N.  No.  1477).  Acad.  XI. 

50.  Hermosui:a  (La)  aborrecida  [y  Desdichada  firmej.  (Cat. 
B.N.  No.  1491.)  VII. 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  JO  I 

51.  Hijo  (El)  per  Engaiio,  Cerco  de  Toledo  y  Rcy  D.  Alfonso 
de  la  Mano  horadada .  Duran  (Cat.  B.  N.  No.  1522).  Acad- 
emy, VIII. 

52.  Hijo  (El)  sin  Padre.  Duran,  modern  (Cat.  B.  N. 
No.  1525).  S.,  J.R.C.  Parte  XXIV.  Mad.  1640. 

53.  Honra  (La)  por  la  Muger.  Holland.  Parte  XXIV.  Zara- 
goza,  1633.  (S.,  J.R.C.)  (Cat.  B.  N.  No.  1543,  Osuna). 

54.  Humildad  (La)  y  la  Soberbia.  Holland.  Parte  X. 

5  5 .  Labrador  (El)  del  Tormes  (Lo  que  puede  un  Agravio) . 
Duran  (Cat.  B.  N.  No.  420). 

56.  Lealtad  (La)  en  la  Traicion  y  el  Honor  en  el  Agravio. 
Duran  (Cat.  B.  N.  No.  1734).  It  is  a  copy  of  a  suelta. 

57.  Ley  (La)  executada.  Gayangos.  (Cat.  B.  N.  No.  3910.) 
Copy  of  Parte  XXIV,  Zarag.  1633  . 

58.  Loco  (El)  por  Fuerza.  (Cat.  B.  N.  No.  1900.)  M. ;  H. 

59.  Locos  (Los)  de  Zaragoza.  (Cat.  B.  N.  No.  1905). 
Parte  XIII.  (Los  Locos  de  Valencia.) 

+  Lo  que  es  un  Coche  en  Madrid.  [This  is  Antonio  de  Men- 
doza's  Los  Riesgos  que  tiene  un  Cache.]  Holland  (S.,  J.R.C). 
Parte  XXVI,  extravagante,  Zarag.  1645. 

60.  Lo  que  estd  determinado.  Escog.  III.  J.R.C. 

61.  Llave  (La)  de  la  Honra.  Escog.  III.  J.R.C. 

62.  Llegaren  Ocasion.  Osuna(Cat.  B.N.  No.  1937).  No.  1936, 
which  bears  the  same  title  is  a  different  play.  P-.  VI. 

63.  Madre  (La)  Teresa  de  Jesus,  Fundadora  del  Carmen. 
Osuna  (Cat.  B.  N.  No.  1941  :  it  is  partly  autograph  :  Act  II, 
11.  6-10).  Doce  Comedias,  Tortosa,  1638.  For  the  MS.,  Cat.  B.N. 
No.  3489:  Vida  y  Muerte  de  Santa  Teresa  de  Jesus,  v.  Restori, 
Z///.,  XXII,  282. 

64.  Marmol  (El)  de  Felisardo.  Osuna  (Cat.  B.  N.  No.  2023). 
P.  VI. 

65.  Martires  (Los)  del  Japon.  Osuna  (Cat.  B.  N.  No.  2034). 
Medel :  «  De  Mescua.  » 

()(>.  Mas  pueden  Celos  que  Amor  (La  Dama  Comendador). 
Duran  (Cat.  B.  N.  No.  2057).  Parma.  Escog.  III. 


I()2  HUGO    A.    RENNERT 


67.  iVLis  galan  (El)  Portugues.  Holland.  (Parte  VIII). 

68.  Mas  valeis  vos,  Antona,  que  la  Corte  toda.  Duran  (Cat. 
B.  N.  No.  2061)  with  the  added  title  Duquesa  de  Bretana. 

69.  Mayor  Corona  {La).  Osuna  (Cat.  B.  N.  No.  2080). 
(Medel.) 

70.  Ma\or  Dicha  {La)  en  el  Vontc.  (Cat.  B.  N.  No  2084), 
with  the  added  title  :  La  Gloria  en  el  Martirio.  (Medel.) 

71.  Mayor  Ha:^aiia  (Im)  de  Alexandro  Magno.  Osuna  (Cat. 
B.  N.  No.  2087).  (Medel). 

72.  Mayorazgo  dudoso  (El).  Osuna  (Cat.  B.  N.  No.  2099  : 
Parma).  P.,  11. 

73.  Mejor  Enaniorada  {La)  la  Magdalena.  Inedited  ?  Osuna 
(Cat.  B.  N.  No.  2120).  An  imperfect  MS.  (Gayangos),  lacking 
Act  I,  is  registered  No.  3979. 

74.  Melindres  (Los)  de  Belisa.  Rayon.  Imperfect.  Parte  IX. 

75.  Merito  (El)  en  la  Templanza  y  Ventura  por  el  Sueno. 
Duran  (Cat.  B.  N.  No.  215 1).  Copy  of  a  suella.  Montanesa 
(La),  V.  La  Amistad  pagada . 

76.  Muertos  (Los)  Vivos.  Duran  (Cat.  B.  N.  No.  2235). 
Parma.  XVII. 

77.  Necedad  (La)  en  el  Discreto.  Osuna  (Cat.  B.  N. 
No.  2286).  P^  XXV  (La  Necedad  del  Discreto). 

78.  Nobles  (Los)  como  han  de  ser.  Duran  (Cat.  B.  N. 
No.  2366).  Como  han  de  ser  los  Nobles. 

79.  Noche  Toledana  (La).  Osuna  (Cat.  B.  N.  No.  2379  and 
4013).  Parma.  P-.  Parte  III  de  Lope  y  otros,  Barcelona,  16 12,  etc. 

Nuestra  Senora  de  la  Candelaria  y  sus  Milagros  y  Guanches 
de  Tenerife.  Osuna  (Cat.  B.  N.  No.  2398)[Inote  this  MS.  here 
because  it  is  an  entirely  different  play  from  Los  Guanches  de 
Tenerife  in  Parte  X]. 

80.  Nuevos  (Los)  Sucesos  del  Gran  Duquc  de  Moscovia. 
Osuna  (Cat.  B.  N.  No.  2416)  (El  Gran  Duque  de  Moscovia). 

81.  Nunca  mucho  costo  poco.  Osuna  (Cat.  B.  N.  No.  2422). 
XXII,  Zaragoza,  1630. 


BIBLIOGRAPHY    OF    LOPE    DE  VEGA  IO3 

82.  Obediencia  laureada  (La)  y  primer  Carlos  de  Hun^ria. 
Osuna  (Cat.  B.  N.  No.  2426).  P\  VI. 

83.  Ocasion  (La)  perdida.  Osuna  (Cat.  B.  N.  No.  2436). 
P.  IL 

-h  84.  Ordeu  {La)  de  la  Redencion.  Holland.  Ined.  Doubtful. 

85.  Paloma  (La)  de  Toledo.  Osuna  (Cat.  B.  N.  No.  2490). 
Dif.  XXIX,  Huesca,  1634.  Acad.  X. 

86.  Paraiso  {El)  de  Laura.  Holland.  Medel :  anon.  Doubtful. 
Co})i.  ined. 

87.  Pastoral  (Un)  albergue.  Duran  (Cat.  B.  N.  No.  2526) 
Com.  inld.  Madrid,  1873. 

88.  Pastoral  (La)  de  Jacinto.  Cat.  B.  N.  No.  2527,  v.  Alpha- 
betical list. 

89.  Perdida  (La)  honrosa.  Duran  (Cat.  B.  N.  No.  2575).  It  is 
Ij)s  Cahalleros  de  San  Juan,  published  in  Academy,  XII. 

90.  Perdidas  (Las)  del  que  juega.  Osuna  (Cat.  B.  N. 
No.  2576).  Holland.  (Medel). 

91.  Peribaiiez.  (P-.  El  Comendador  de  Ocaiia)  Parte  IV.  Hol- 
land . 

—  Perro  (El)  del  Hortelano  :  see  Amar  por  ver  amar . 

—  Persecuciones  de  David:  see  David  perseguido. 

92.  Pleyto  (El)  por  la  Honra  6  el  Valor  de  Fernandito.  Osuna 
(Cat.  B.  N.  No.  2644).  Doce  Comedias  de  Lope  y  olros,  Barce- 
lona, 1630.  S.,  J.R.C. 

93.  Porfia  (La)  hasta  el  Temor.  (Cat.  B.  N.  No.  2674)  (420). 
S .  (ancient)  at  Parma . 

94.  Prados  (Los)  de  Leon.  J.R.C.  Parte  XVI. 

95.  Quien  ama  no  hagaPieros.  Osuna  (Cat.  B.  N.  No.  2797). 
XVIII. 

96.  Quien  bien  ama  tarde  olvida.  Osuna  (Cat.  B.  N, 
No.  2798).  Parte  XXIV,  Zaragoza,  1630. 

97.  Ramirez  (Los)  de  Arellano.  (Cat.  B.  N.  No.  2824.)  XXIV, 
Zaragoza,  1641 . 

98.  Rey  (El)  por  Trueque.  Duran  (Cat.  B.  N.  No.  2912). 
Inedited . 


1 0-1  HUGO    A.    REMNERT 


99.  Rcvna  (La)  Doiia  Maria.   Academy,  VIII. 

100.  Robo  (El)  de  Dina.  (Cat.  B.  N.  No.  2924.);  XXIII. 
Academy,  III . 

101.  Rosario  (El)  de  los  Hijos  de  Maria.  Osuna  (Cat.  B.  N. 
No.  2941)- 

102.  Ruvsenor  (El)de  Sevilla.  Duran(Cat.  B.  N.  No.  2948). 
Parma.  P^'XVII. 

103.  San  Agustin  (El  divino  Africano).  Duran  (Cat.  B.  N. 
No.  3004).  P\  XVllI. 

104.  San  Isidro  Labrador  de  Madrid.  (Cat.  B.  N.  No.  3013  •) 
MS.  No.  3013.  (No.  545-)  entitled  San  Isidro  Labrador  de 
Madrid,  y  Victoria  dc  las  Navas  de  Tolosa  is  an  entirely  different 
play . 

105.  San  Julian  de  Alcala  de  Henares,  6  el  Saber  por  no  saber. 
(La  Vida  de  San  Julian  de  Alcala).  Osuna  (Cat.  B.  N.  No.  3018). 
XXII.  Academy,  V. 

106.  San  Pablo,  Vaso  de  Eleccion.  Rayon.  (Medel).  Acad- 
emy, III. 

107.  Santa  Casilda.    Osuna  (Cat,  B.  N.  No.  3029).   Medel. 
Santa  Teresa  de  Jesus,  v.  La  Madre  Teresa  de  Jesus. 

108.  Santiago  el  Verde.  Brit.  Museum.  Osuna,  copy  (Cat. 
B.  N.  No.  3037).  XIII. 

109.  Santo  Niiio  (El)  de  la  Guardia.  Segundo  Cristo.  Duran 
(Cat.  B.  N.  No.  3041):  it  has  a  censura,  dated  Malaga,  January  7, 
1638.  VIII  (El  Nino  inocente  de  la  Guardia). 

no.  Secretario(El)desi  mismo.  Osuna  (Cat.  B.  N.  No.  3057): 
Acts  I  and  II  only).  P^  VI. 

111.  Serrana  (La)  del  Tormes.  —  J.R.C.  Parte  XVI. 

112.  Si  no  vieran  las  Mugeres.  Osuna  (Cat.  B.  N.  No.  3106). 
Fega  del  Parnaso.  Obras  Sueltas,  X. 

113.  Suerte  (La)  de  los  Reyes,  6  los  Carboneros.  Duran  (Cat. 
B.  N.  No.  3192  :  Act  I  wanting). 

1 1 .4.  Terceros  (Los)  dc  San  Francisco  (La  Tercera  Orden  de 
San  Erancisco).  Duran  (Cat.  B.  N.  No.  3227).  Academy,  V. 


BIBLIOGRAPHY  OF  LOPE  DE  VEGA 


105 


115.  Toledano  (El)  y  Celoso  veiigddo.  Osuna  (Cat.  B.  X. 
No.  3270).  Parma  (?),  v.  List. 

116.  Trabajos  (Los)  de  Jacob.  (Suenos  hay  que  Verdad  son.) 
(Cat.  B.  N.  No.  3294.);  J.R.C.  (Parte  XXII,  Madrid,  1635). 

iry.  Valiente  (El)  Juan  de  Heredia.  Osuna  (Cat.  B.  N. 
No.  3399).  S.,  J.R.C. 

Valor  (EI)  de  Fernandito.  v.  El  Pleyto  por  la  Honra. 

118.  Valor  (El)  de  Malta.  Duran  (Cat.  B.  N.  No.  3409).  Hol- 
land. Academ}^  XII. 

119.  Vargas  (Los)  de  Castilla.  (Cat.  B.  N.  No.  3422)  (i.  c. 
No.  420  (6''')).  Parte  XXVII,  extravdgante ;  Academy,  X. 

120.  Ver  y  no  creer.  (Cat.  B.N.  No.  3464)  (anon.)  with 
original  aprobdciones  of  Dr.  Luis  Navarro  (Zaragoza.  August  25, 
1 6 19  and  Thomas  Gracian  Dantisco,  Oct.  16,  161 9. 

0.  Verdadero  Amante  (El).  Quoted  by  Salva.  Parte  XIV. 

121.  Vida(La)de  San  Pedro  Nolasco.  (Cat.  B.  N.  No.  3479.); 
Academy,  V. 

122.  Vida  y  Muerte  de  Santa  Teresa  de  Jesus.  Osuna  (Cat. 
B.N.  No.  3489).  V.  La  Madre  Teresa  de  Jesus;  and  Alphabet- 
ical list. 

123.  Villana  (La)  de  Getafe.  Holland.  Parte  XIV. 

124.  Viuda(La)  Valenciana.(Cat.  B.  N.  No.  3525.);  P.  XIV '. 

SUMMARY    OF    INEDITED    MANUSCRIPTS 

[Among  these  are    included    plays  known    only  through    the 
Catalogues  of  Medel  and  Huerta.] 

1.  Alcayde(El)  de  Madrid.  —(Medel);  Osuna,  Cat.  B.  N. 
No.  74  ;  Rocamora,  No.  229. 


I.  At  this  point  Chorley  inserts  a  Table  of  Manuscript  Coiiifdias  in  the 
Library  formerly  belonging  to  D.  Agustin  Duran,  according  to  the  Inventario 
published  in  1865  by  Juan  Eugenio  Hartzenbusch.  I  omit  it,  as  all  of  Duran's 
MSS.  are  now  in  the  Biblioteca  Nacional.  See  above,  pp.  74-89. 


I06  HUGO    A.    RENNERT 


2.  Alcxaadro  el  segundo,  Cesar  el  primer  Traidor. — Cat.  B.N. 
No.  97. 

3.  Amar  porBurla.  — (Medel);  H.  ;  Parma  ;  Osuna,  Cat.  B.N. 
No.  123  ;  Rocamora,  No  243. 

4.  Antonio  Roca.  —  H-  ;  Holland  ;  Osuna,  Cat.  B.  N.  No. 
220. 

5.  Arminda  celosa.  —  H. ;  Duran,  Cat.  B.  N.  No.  252. 

6.  Casamiento  (El)  por  Cristo.  —  H;  Osuna,  Cat.  B.  N. 
No.  527  ;  Rocamora,  No.  379.  Doubtful. 

7.  Corona  (La)  de  Ungria.  —  Copy,  Bib.  Nac.  Cat.  No.  716. 

8.  Del  Monte  sale  quien  el  Monte  qucma.  —  M. ;  H.;  MS. 
autog.  Osuna,  dated  October  20,  1627.  Cat.  B.  N.  No.  848; 
Rocamora,  No,  461. 

9.  Devocion  (La)  del  Rosario.  —  Copy,  Duran,  Cat.  B.  N. 
No.  899. 

10.  Discordia  (La)  en  los  Casados.  —  H.  (anon.);  MS.  autog. 
(Osuna),  Cat.  B.  N.  No.  933,  dated  Madrid,  Aug.  2,  i6ri; 
Rocamora,  No.  488.  Said  to  be  printed  anonymously. 

11.  Divina(La)  Vencedora.  — MS.  copy  dated  1624  of  Acts 
I  and  II  at  Parma.  (See  Restori,  p.  21)  ;  copy  of  Act  III  (Duran), 
Bib.  Nac.  Cat.  No.  947. 

12.  Don  Gil  de  la  Mancha.  —  Cat.  B.  N.  No.  983.  Very 
doubtful. 

13.  Fray  Diablo.  —  Copy;  Cat.  B.  N.  No.   1324. 

14.  Gran  Capitan  (El).  —  Cat.  B.  N.  No.  1408.  Medel  as- 
cribes it  to  Lope.  Doubtful. 

15.  Loco  (El)  por  Fuerza.  — M.;  H.;  Cat.  B.  N.  No.  1900. 

16.  Lo  que  pasa  en  una  Tarde.  —  Autograph  (Osuna),  dated 
November  22,  1617  ;  Cat.  B.  N.  No.  1772.  Rocamora,  No.  749. 
Inedited  ? 

17.  Mayor  (La)  Corona.  —  M.  ;  H. ;  Cat.  B.  N.  No.  2080; 
Rocamora,  No.  818. 

18.  Mayor  (La)  Dicha  en  el  Monte.  —  H. ;  Osuna,  Cat.  B.N. 
No.  2084  ;  Rocamora,  No.  820  . 


IIXTAST    AUTOGRAPHS   01-    LOPE    DE 

[The  pieces  marked  (Om.),  liiougli  written  before  i6iS,  are( 


:ed  from  the  PeregrinoVist  ofth.it  date.] 


- 

V.,. 

T,„. 

POS...SO,, 

Dale  of  A 

tograpli. 

i;9! 

El  Favor  itgriideciih. 

P. 

Comedbs  .\V. 

(Duran).  Bib.  Nac. 

December 

19.  159!' 

flz-  — 

2 

1 602 

El  ciurdo  Loco. 

P. 

Comcdias  XIV. 

November 

II,  1602. 

) 

|602 

El  Principe  detpei'iatlo. 

P(?). 

Conu-dias  VII. 

Condcsa    de    Totre- 
Isabcl. 

November 

27.  1602. 

" 

i6oi 

El   Cordobei  xttlcroto,   Pedro 
Carbonero. 

P. 

Comedias  XIV. 

Bib,   National  (Osu- 
.«lfe(S,cl,ivcs; 

August  26 

i6oi.   _  . 

i.L.        _ 

s 

,60, 

La  Coioiicl  mcrciija. 

P. 

Comcdias  XIV.         ^ 

ilio!. 

6 

1604 

La  Pnteba  de  lot  Aiitigoi, 

P' 

Comedias      inedilas. 

Bib.    Nacional  (016- 

September 

12,  1604. 

7 

1604 

Carlos  V.  ett  Fraticia. 

p.. 

1875. 
Comcdias  XIX, 

J.    T.     Sieison,    Jr. 
Philad.i. 

November 

20,  1604, 

« 

.608 

La  BatalladelHotior. 

P-. 

Comcdias  XV. 

XMMfft. 

April  iS, 

(08, 

9 

1610 

La  Immoia  Eilir. 

P'. 

Comcdias  XV. 

Brit,  Museum. 

April  i,  16 

.0. 

1610 

hi  htciia  GaarJa. 

P'. 

Comcdias  XV. 

Pid.il. 

April  16, 

610. 

11 

1610 

El  CahilUro  del  Sacraiiietilo. 

P'. 

Comcdias  XV. 

Holland. 

.\pril  2;, 

610. 

12 

i6m 

Barlan  y  joiofa. 

P'. 

Comcdias  XXIV. 

Holland. 

,  1611. 

' 

■> 

i6m 

L\  Difcordia  fit  hi   Caladoi 

Printed    anonymous. 

Bib.   Xxional  (Osu- 

August  2, 

611.  

(Ora.) 

ly- 

"">■    » 

M 

1612 

El  JIailaido  Mi,d.„,a. 

P:l.o„i,leIii- 

faalcs  de  Lara. 

Comcdias  XXIV.  Za- 
rag.  1 64 1. 

Oid^nga.JJU'^'b^' 

April  27, 

1612. 

li 

i6ii 

La  Dama  holla. 

p.. 

Comcdias  IX. 

Bib.    Nacional  (Osu- 

April  28, 

61).    _ 

i6 

l6ii 

El  Galan  di  la  Meiibrilla. 

p.. 

Comcdias  X. 

na). 
Brit.  Museum. 

April  20, 

6,>. 

Ij 

161s 

Saiititi^o  el  Kit*. 

p.. 

Comcdias  XIII. 

Brit.  Museum. 

61,.. 

l8 

1616) 

El  Seiihnir  en  l.ima  Tima. 

P'. 

Comcdias  X. 

Brit.  Museum. 

January  6 

1616, 

■9 

,6,6 

Qiiien  iim  m  piiede. 

P'. 

Comcdias  XVII. 

Jolin  Murray. 

Scptembc 

t,  1616. 

1.  FortlieMS.(Brii.  Mus.)o(Z.j  Nitut  de  Plala   v  Bu 
Lope,  see  Li/eof  Lope,  p,  210,  w,  2. 

2.  Assigned  conjcctu rally  to  1615  :  the  last  leaf  is  missing. 
J.  An  ii«/o  jiJcraiMi'f//ii/,  entitled   La  hla  del  Sol.  dated  April  6, 

(Osuna).  Cat.  No.   1641. 


igada,  dated  January  29,  1613,  and  erroneously  ascribed  to 
last  two  leaves  autograph,  is  in  the  Bib.  Nac. 


o 


AUTOGRAPHS   I 


,„.. 

Mciion.J  .1. 

B„,p,„„.a.„. 

P..,.„o. 

r,..„,..„„,„p„. 

... 

1617 

,;,„,.<,-„..,„.,*. 

1>V 

&cosid.1i.  XVI.. 

Hib.   Xjcional  (Osu- 

.August  4,  1617. 

1617 

Lo  ijne  p>iia  en  tiiiii  Turtle. 

P-. 

Incditcd  >    Pub.    bv 
Prof.  Pclrof.C?) 

Bib.    NacionnI  (Osii- 
m). 

November  23,  16171. 

22 

1621 

Jm«r.  Pleih  ,  D,.«>o. 

Conicdils      In^dil.AS. 

Bib.    N.idoii.il    (l)u- 

November  2j.   i6zi. 

11522 

ill  iiufm    Victoria    lie   Don 
Goinalo  de  Cordojia. 

vol.  I,  Mad.  187J. 
Vi.-g.i  del  Pnniaso. 

ran). 
Bib.  Nacional  (Osii- 

Octobers.  1622. 

l62J 

El  Paler  m  el  Diierelo. 

Incditcd  ? 

Bib.   Nacional  (Osu- 

May  8,  162J. 

2i 

1624 

El  Marguci  de  las  Navas. 

Comcdins  XXII,  Za- 

H  011.1ml, 

April  22.  1624, 

l( 

I62i 

La  Nini^  del  Poire  Rojat. 

ragoza,  i6}o. 
Escogidas,  XVIII. 

Bib,    Xacional  (Osu- 

January  ,}.  162). 

1621 

El  Biatil  reilituido. 

Academia.  XIII. 

Public  Library,  Xcw 

October  25.  if2$. 

?s 

,62( 

!  Av,  Veidadet  I tjiie  en  Amoi . 

Comcdias  XXI. 

York  (Lenox). 
Bril.  Musuutii. 

November   12.  1625. 

29 

1626 

Sin  Seerelo  no  ay  Amor. 

SiidtJ.ed.  H.A.Rcn 
iitn.      Baltimors . 

Brit.  iVIuM.-iiin. 

July  18.  1626- 

1626 

El  piadasa  Arogoncs. 

1894. 
Conlcdias  XXI. 

Comedias     Iniditas, 
vol.     I,     Madrid, 

Bib.   N.Kional  (Osi:- 

na). 
Bib.   Nacional   (Osu- 

na). 

Augiist  17.  1626. 
December   10,    1626. 

12 

1627 

Del  Monte  sole<]uien  el  Montr 

187;. 
Iiicdiled, 

Bib.    Kacional  (Osu- 

October  20.  1627. 

i! 

16J1 

El  Cattigo  sin  Vengan^a. 
Lit  Corona  de  Ungria. 

Comedias  XXI. 
Inedilcd. 

Ticknor  Library. 
Asiorga  .Archives. 

August  1.  i6ji, 
December  2j,  i6}j. 

!i 

Las  Bi^orrias  de  Bclisa. 

Vega  del  I'arnaso. 

Bril,  Museum, 

M.iy  24.  i6)4- 

4.  In  lliib  volume  the  pl.iy  beats  Rojas  Zorri! 

5 .  The  autograph  of  Lope's  aulo  sacramailal 
of  Lope's  aiilo  siicrnmaital  entitled  Olnui  ioii  An 
read  ;  Autograph,  signed  at  Madrid  on  May  ;i 


mitled  Liu  Haitii'uu  del  itgimdo  David  is  dated  April  28,  1619:  the  autograph 
rci  is  dated  1620  :  but  kc  Life  0/ Lope,  p.  281.  In  Cal.  B.  N.  No.  243 j,  wc 
1615  (subsequently  emeoded,  1628  (sic):  probably  means  1618. 


BIBLIOGRAPHY    OF    LOPE    DK    VEGA  I07 

19.  Mayor  (La)  Hazaiia  de  Alexandre  Magno.  —  H.  ;  Osuna, 
Cat.  B.N.  No.  2087;  Rocamora,  No.  823. 

20.  Mejor  (La)  Enamorada,  la  Magdalena.  — M.  ;  H. ;  Osuna, 
Cat.  B.  N.  No.  2120;  see  also  No.  3979. 

21.  Orden  (La)  de  la  Redencion  y  Virgen  de  los  Rcmedios. 
MS.  copy  (Holland)  ;  doubtful. 

22.  Paraiso  (El)  de  Laura  y  Florestas  de  Amor.  —  Copy 
(Holland),  dated  1680  ;  doubtful. 

23.  Perdidas  (Las)  del  que  juega.  —  M.  (anon.);  H.  ;  copy 
(Osuna),  Cat.  B.  N.  No.  2576,  and  Holland. 

24.  Poder  (El)  en  el  Discrete.  —  Autograph  (Osuna),  dated 
Madrid,  May  8,  1623  ;  Cat.  B.  N.  No.  2649  ;  Rocamora,  No. 
1045. 

25.  Rey  (El)  por  Semejanza.  —  Cat.  B.N.  No.  29 11.  Very 
doubtful. 

26.  Rey  (El)  por  Trueque.  —  Copy,  Duran,  Cat.  B.  N.  No. 
2912. 

27.  San  Martin.  —  P^  ;  Medel.  There  is  a  MS.  in  the  Bib.  Nac. 
Cat.  No.  545  (cited  as  No.  4),  which  may  possibly  be  Lope's 
San  Martin.  It  bears  the  title  :  El  glorioso  San  Martin. 

28.  Santa  Casilda.  — H.;  Osuna,  Cat.  B.N.  No.  3029.  Doubt- 
ful. 

29.  Suerte  (La)  de  los  Reyes,  6  los  Carboneros.  Copy  (Duran) 
of  the  last  two  Acts.  Cat.  B.  N.  No.  3192. 

30.  Toledano  (El)  y  Celoso  vengado.  —  Osuna,  Cat.  B.  N. 
No.  3270;  Rocamora,  No.  1285,  gives  it  as  £"/  Toledano  vengado, 
under  which  title  it  is  cited  by  Huerta. 

31.  Valiente  (El)  Juande  Heredia.  —  H.  ;  copy  (Osuna),  Cat. 
B.  N.  No.  3399;  Rocamora,  No.  1399.  Chorley  possessed  a 
sueha  of  this  play. 

NOTE    ON    THE    LISTS    OF    PLAYS    PUBLISHED    BY    LOPE     DE     VEGA    IN 
«   EL    PEREGRINO    EN    SU    PATRIA    » 

Princeps  :  Sevilla,  Clemente  Hidalgo,  1604.4°.  (H.  A.  R.) 


I08  HUGO    A.    RENNERT 


[The  Aprovacio)!  was  given  at  Valladolid  on  November  25, 
1603  :  the  dedication  was  signed  by  Lope  at  Seville  on  Decem- 
ber 31,  1603.] 

Second  Edition  :  Madrid,  1604.  12  mo. 

Third  Edition  :  Barcelona,  Cormellas,  1604.  4to. 

Fourth  Edition  :  Barcelona,  Cormellas,  1605.  8vo. 

Fifth  Edition  :  Bruselas,  1608.  12  mo.  (H.  A.  R.) 

Sixth  Edition  :  Madrid,  Viuda  de  Alonso  Martin,  1618,  8vo. 
(H.  A.  R.) 

Seventh  Edition  :  Madrid,  Martinez  Abad,  1773.  4to. 

Eighth  Edition  :  Vol.  V.  of  Obms  siultas,  Madrid,  Sancha, 
1776. 

In  the  Prologue  to  this  book  the  poet  says  :  «  Para  mi  lo  son 
[enemigos]  los  que  con  mi  nombre  imprimen  agenas  obras. 
Agora  han  salido  algunas  Comedias,  que,  impresas  en  Caslilla, 
dicen  que  enLisboa»  [alluding,  apparently  to  the  volume  entitled 
Scis  Comedias  de  Lope  yotros,  Lisboa,  1603,  but  which  were  also 
printed  in  Madrid  in  the  same  year.  It  is  probable,  as  Lope  says, 
that  the  book  was  really  never  actually  printed  in  Lisboa],  «  y 
assi  quiero  advertir  a  los  que  leen  mis  escritos  con  aficion...  que 
no  crean  que  aquellas  son  mis  comedias,  aunque  tengan  mi 
nombre  :  y  para  que  las  conozcan,  me  ha  parecido  acertado 
poner  aqui  los  suyos  [?  titulos]  porque  se  conozcan  »,  etc.  Upon 
this  follows  a  list  (P.)  of  219  titles  :  to  which  was  added  after- 
wards in  the  Sixth  Edition  of  i6i8,a  supplementary  list  (P\)of 
208  more,  making  a  total  of  427  which  Lope  recognized  as  his 
own. 

Until  La  Barrera,  in  revising  the  present  Catalogue,  called 
attention  to  the  edition  of  161 8  —  which,  as  he  stated  afterwards 
in  his  Catd logo  general  (M:idr\d,  i860,  p.  423),  «  el  propio  Lope 
repitio  '  »  —  the  supplementary  list  was  only  known  from  its 

I.  Lope  received  the  first  privilege  and  license  of  the  king  to  print  his  Peie- 
orino  (or  ten  years,  on    December  6,  1603.  In  the  edition  of   1618  we  read 


BIBLIOGRAPHY    OF    LOPE   DE    VEGA  I()C) 


being  included  in  the  Madrid  edition  of  1733  :  and  it  was  erro- 
neously supposed  to  have  been  published  for  the  first  time 
almost  a  hundred  years  after  the  poet's  death,  its  authority  was 
ranked  below  that  of  the  original  list.  It  should  be  noted  that 
Cerda  y  Rico,  when  publishing  the  fifth  volume  of  the  Ohras 
siteltas  (ic  Lope  in  ijj6,  cited  the  editions  of  1604,  1605,  1608 
and  1733  as  the  First,  Second,  Third  and  Fourth  Editions  respec- 
tively; and,  so  far  as  I  am  aware,  until  La  Barrera  drew  up  the 
above  list,  in  no  other  work  was  there  any  description  of  the 
princeps  of  Sevilla  (1604),  or  of  the  more  important  1618  edi- 
tion of  Madrid.  We  are  indebted  to  him  for  restoring  to  the  sup- 
plementary list  the  authority  which  it  lacked  so  long  as  it  was 
not  proved  to  have  been  published  during  Lope's  lifetime  and — 
so  La  Barrera  impUes  —  v/ith  his  revision. 

Thus  we  now  have  two  authentic  lists  of  comedias  written 
by  Lope  —  219  previous  to  the  year  1604,  and  208  others  pre- 
vious to  the  year  i6i8'.  But  neither  list  includes  the  titles  of 
all  the  pieces  which  he  had  written  up  to  these  dates  respecti- 
vely. As  to  the  original  list,  in  the  very  Prologue  which  con- 
tains it.  Lope  resumes  his  remarks  after  giving  the  list,  and 
speaks  of  230  comedias  —  instead  of  219  actually  in  the  list  — 
«  sin  mitchas  de  que  no  nic  acuerdo.  »  And  at  the  same  point,  in  the 
Prologue  to  the  edition  of  161 8,  where  the  titles  amount  to 
427,  he  speaks  —  not  of  this  number,  but  —  of  462. 


that  he  received  the  privilege  «  for  another  four  vears  »,  on  December  17, 
i'6i4.  As  the«  fee  de  erratas  »  of  this  latter  edition  is  dated  February  13,  1618, 
it  is  probable  that  Lope  may  have  had  a  hand  in  making  up  this  supplemen- 
tary list.  On  the  other  hand,  as  this  edition  was  printed  at  the  expense  of 
Lope's  friend,  Alonso  Perez,  it  may  he  due  to  the  latter.  In  any  event,  it  was 
doubtless  inserted  with  Lope's  knowledge  and  sanction.  [H.A.R.j 

I.  It  may  be  well  to  observe  that  in  the  edition  of  1618,  the  list  of  1604 
was  simply  repeated,  line  for  line,  and  113  titles  were  added.  The  additional 
list  was  not  drawn  up  very  carefully,  moreover,  as  a  number  of  titles  are  repeat- 
ed from  the  first  list.  [H.A.R.J 


no  HUGO    A,    RENNERT 


(i)  But  even  the  latter  number  does  not  reach  the  total  ot 
comcdias  which  he  had  composed  as  far  back  as  1609  :  for,  in 
the  Arte  nnevo  de  hacer  comedias,  published  in  that  year,  he  says 
that  he  had  already  written  483  comedias. 

(2)  Nor  does  it  greatly  exceed  balfihe  number  of  those  which 
he  had  actually  written  up  to  16 18  :  for  in  the  Prologue  to 
Parte  XI  of  his  Comedias,  the  Aprobacion  to  which  is  dated 
February  16 18,  he  says  that  the  number  had  already  reached 
800.  [See  Life  of  Lope,  p.  269 .  ] 

There  are  a  number  of  plays,  even  among  those  that  have  been 
preserved,  which,  as  they  do  not  contain  2iny  figiira  del  donayre, 
were  probably  written  before  the  end  of  the  sixteenth  century, 
though  not  cited  in  the  1603  list  : 

El  Desposorio  encubierto.     Parte  XIII,  1620. 

El  Exemplo  de  Casadas.     Flor  de  Comedias,  V,  161 6. 

Las  famosas  Asturianas.     Parte  XVIII,  1623. 

La  Imperial  de  Oton.     Parte  VIII,  16 17. 

El  Casamiento  en  la  Muerte.     (P-.)  Parte  I,  1604. 

Lo  fingido  Verdadero.  (P-.  El  mejor  Representantc.)  Parte 
XVI,  1621. 

La  Amistad  pagada.     Parte  I,  1604. 

El  Niiio  inocente  de  la  Guardia.     (P-.)  Parte  VIII,  1617  '. 

Whatever  may  have  been  the  cause  of  the  difference  between 
the  lists  and  the  Prologues,  and  of  the  deficiencies  of  the  lists  as 
regards  the  actual  number  of  Lope's  works  prior  to  16 18  — 
whether  due  to  the  author's  own  carelessness  or  neglect  on  the 
part  of  the  printers  —  it  is  certain  that  no  exclusive  authority 
can  be  ascribed  to  these  lists.  It  is  absurd  to  quote  them  — 
unless  supported  by  other  reasons  —  as  justification  for  rejecting 
any  piece  attributed  to  Lope.  We  are  not  entitled  to  deprive  him 


I .  At  this  point  Chorley  had  cited  a  number  of  plays  as  lacking  in  the  List 
of  161 8.  Willi  one  or  two  exceptions,  however,  the  plays  mentioned  are  all  in 
this  list. 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  I  I  I 


of  a  play  merely  because  he  does  not  quote  it  in  the  Peregrino 
lists.  Nevertheless  La  Barrera  has  done  this  more  than  once,  as 
will  appear  from  the  appended  list  of  Titles. 

ORIGINAL    LIST    (1603)  OF    THE    «    PEREGRINO    ))    ARRANGED    IN 
ALPHABETICAL    ORDER 

Plays  marked  0  have  no  figiira  del  doiiayre  '  : 


1.  Abderite  (La). 

2.  Abindarraez  y  Narvaes.     (Parte  XIIL    El  Remedio  en  la 
Desdicha.) 

3.  Adonis  y  Venus.     Parte  XVL 

4.  Africano  cruel  (El). 

5.  Alcayde  (El)  de  Madrid.     Medel ;  MS.  (Osuna). 

6.  Alfonso  el  afortunado. 

7.  Amantes  (Los)  sin  Amor. 

8.  Amatilde  (La). 

9.  Amazonas  (Las).     (Parte XVL  Las  Mugeres  sin  Hombres.) 

10.  Amigo  (El)  por  Fuerza.     Parte  IV. 

11.  Amor  constante  (El). 

12.  Amor  desatinado  (El). 

13.  A  mores  (Los)  de  Narciso. 

0  14.  Angelica  en  el  Catay.  Parte  VIIL 
i^.  Antonio  Roca.  Medel ;  MS.  Osuna. 
16.  Arenal  (El)  de  Sevilla.  Parte  XVL 
0  17.  Argel  fingido  (El).     Parte  VIIL  Copy  (Brit.  Mus.). 


I.   Hhe  Jig  lira  del  donayrc  was  first  introduced  by  Lope  in  La  FraiicesiUa, 
which,  as  appears  from  the  Dedication  (Parte  XIII),  was  written  before  1602. 


I  12  HUGO   A.    RENNERT 


B 

1 8.  Barbara  (La)  del  Ciclo.     Mcdel.  anon. 

19.  Barbaro  gallardo  (El). 

20.  Basilca  (La). 

0  21.  Batalla  naval  (La).     (Parte  XV.  La  Santa  Liga.) 

22.  Belardo  furioso. 

23.  Bella  Gitana  (La). 

0  24.  Bella  mal  maridada  (La).     Parte  IL 
0  25.  Benavides  (Los). 

26.  Biedmas  (Los). 

27.  Bosque  amoroso  (El). 

28.  Buen  Agradecimiento  (El). 

29.  Burlas  de  Amor. 

C 

0  30.  Caballero  (El)  de  Yllescas.     Parte  XIV. 

31.  Caballero  (El)  del  Milagro.     Parte  XIV.   [This  has  more 
than  one  Jigiira  del  donayre.] 

32.  Caballero  mudo  (El). 

33.  Cadena  (La). 

O  34.  Campana  (La)  deAragon.     Parte  XVIIL 

35.  Capitan  (El)   Juan  de  Vrbina.  (Contienda  de  Garcia  de 
Paredes  y  el  Capitan  Juan  de  Urbina.) 

36.  Casamiento  (El)  dos  veces. 

37.  Catalan  valeroso  (El)  (?  Parte  IL   El  gallardo  Catalan.) 

38.  Cautivos  (Los).  (?  Parte  XXV.  Los  Cautivos  de  Argel.) 

39.  Cegries  y    Bencerrages.  (Parte  XXIII.  La  Embidia  dc  la 
Nobleza.) 

40.  Cerco  (El)  de  Madrid. 

41.  Cerco  (El)  de  Oran. 

42.  Cerco  (El)  de  Toledo.      Mcdel.  anon. 

43.  Chabes  (Los)  de  Villalba.     Parte  X. 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  I  I  3 

44.  Circe  Angelica  (La). 

45.  Ciruxano  (El). 

46.  Comendadores  (Los).  (?  Parte  IL  Los  Comendadores  de 
Cordoba.) 

47.  Competencia  enganada  (La). 

48.  Conde  (El)  de  Yrlos. 

49.  Conde  (El)  D.  Thomas. 

O  50.  Condesa  (La).     (?  Parte  IL  La  Condesa  Matilde.) 

51.  Conquista  (La)  del  Andaluzia. 

52.  Conquista  (La)  de  Tremezen. 

053.  Corona  (La)  nierecida.  Parte  XIV.  Autog.  (Astorga), 
1603. 

54.  Cortesano  (El)  en  su  Aldea. 

055.  Cuerdo  Loco  (El).  Parte  XIV.  Autog.  (Holland.) 
1602. 

D 

56.  Dama  desagraviada  (La). 

57.  Dama  estudiante  (La). 

58.  Degollado  fingido  (El). 

59.  Desdichado  (El). 

O  60.  Despenado  (El).     (?  Parte  VII.  El  Principe  despenado.) 

O  61.  Difunta  (La)  Pleyteada.  [Chorley  takes  this  to  be  the 
piece  ascribed  to  Rojas  in  Escog,  XX,  in  which  work  there  is 
no  gracioso.] 

62.  Divina  (La)  Vencedora.     MS.  Duran. 

O  63.  Domine  Lucas  (El).  Parte  XVII.  [Chorley  doubts 
whether  the  character  of  Decio  can  be  called  a  gracioso .  ] 

64 .  Duque  (El)  de  Alba  en  Paris. 


65.  Embidia  (La)  y  la  Privanza. 

REVUE   HISPANIQUE.    G. 


114 


HUGO    A.    RENNERT 


O  66.  Embustes  (Los)  de  Ribia.     Parte  XXV. 

O  67.  Enemigo  (El)  enganado.  S.  J.  R.  C;  Duran ;  Dif. 
XXXII. 

68.  Engano  (El)  en  la  Verdad.     S.  (J.  R.  C;  Osuna;  Duran). 

O  6^).  Enredos  (Los)  de  Celauro.  Parte  IV.  Los  Embustes 
de  Celauro. 

O  70.  Esclavo  (El)  de  Roma.     Parte  VIIL 

71.  Esclavo  (El)  porsu  Gusto. 

72.  Esclavos  (Los)libres.     Parte  XIIL 

073.  Escolastica  (La)  celosa.     Parte  L 

74.  Espiritu  (El)  fingido. 


75.  Faxardos  (Los),     [This  may  he  the  play  in  Parte  VII,  El 
primer  Faxardo,  which  has  no  figura  del  donayre.] 

O  76.  Favor  (El)  agradecido.     Parte  XV.  Autog.  (?)  Duran, 

1593- 

O  77.  Fe  (La)  rompida.     Parte  IV. 

O  78.  Ferias  (Las)  de  Madrid.     Parte  II. 

79.  Firmeza  (La)  de  Leonarda. 

O  80.  Franccsilla  (La).      Parte  XIIL 

8 1 .  Fray  Martin  de  Valencia . 

82.  Fregosos  y  Adornos. 

O  83.  Fuerza  lastimosa  (La).     Parte  II. 


84.  Galan  (El)  agradecido. 

85.  Galan  (El)  escarmentado. 

O  86.  Galiana  (La).     (Parte  XXIII  (?)   Los  Palacios  de  Ga- 
iana.) 
O  87.  Gallarda  (La)  Toledana.     Parte  XIV. 
88.  Gallardas  (Las)  Macedonias. 


BIBLIOGRAPHY    OF    LOPE    DE  VEGA  II5 

89.  Ganso  (El)  de  Oro. 

O  90.  Garcilaso  de  la  Vega.  (Hechos  de  Garcilaso  de  la  Vega 
)r  Parte  I,  El  Cerco  de  Santa  Fe.) 

91.  Ginobesa  (La). 

92.  Gobernadora  (La). 

93.  Gran  (La)  Pintora. 

94.  Grao  (El)  de  Valencia. 

95.  Guelfos  y  Gibelinos. 

96.  Guerras  civiles  (Las) . 

97.  Guzmanes  (Los)  de  Toral. 

H 

O  98.  Hermosura  (La)  de  Alfreda.     Parte  IX. 

99.  Hero  y  Leandro. 

O  100.  Hijo  (El)  de  Reduan.     Parte  L 

loi.  Hijo  (El)  de  si  mismo. 

102.  Hijo  (El)  venturoso. 

O  103.  Horacios  (Los).     Parte  XVIIL  El  honrado  Hermano. 

I 

104.  Imperial  Toledo  (La). 

105.  Inclinacion  (La)  natural. 

106.  Infanta  (La)  desesperada. 

107.  Infanta  (La)  Labradora. 

108.  Ingratitud  (La)  vengada.     Parte  XIV. 

109.  Ingrato  (El)  arrepentido.     Parte  XV. 

J 

O  no.  Jacintos  (Los).     Parte  XVIIL  La  Pastoral  de  Jacinto. 

III.  Jardin  (El)  de  Falerina. 

O  112.  Jorge  Toledano.     Parte  XVII. 

113.  Jueces  (Los)  de  Ferrara. 


I  I  6  HUGO    A.    RENNERT 


O  114.  Lacayo  (El)  fingido.    Gongora-Lope. 

Oil).  L:iura  pcrseguida.      Parte  IV. 

O  116.  Leal  (El)  Criado.     Parte  XV.  MS.  Rubi,  1594. 

O  117.  Locos  (Los)  de  Valencia.     Parte  XIIL 

O  118.  Locos  (Los)  por  el  Cielo.     Parte  VIIL 

O  119.  Lucinda  perseguida.     Parte  XVIL 

M 

O  120.  Maestro  (El)  de  danzar.     Escog.  III. 

121.  Marmol(El)de  Felisardo.     Parte  VL 

O  122.  Marques  (El)  de  Mantua.     Parte  XIL 

O  123.  Matico  (El).     Parte  L  Donayres  de  Matico. 

124.  Matrona  (La)  constante. 

O  125.  Mayorazgo  (El)  dudoso .      Parte  IL 

126.  Medico  (El)  enamorado. 

127.  Meson  (El)  de  la  Corte. 

O  128.  Mocedad  (La)  de  Roldan.     Parte  XIX. 
O  129.  Molino  (El).     Parte  I. 

130.  Monstruo  (El)  de  Amor. 

131.  Montaiiesa  (La).  Medel.  Montanesa  famosa  =  La  Amis- 
tad  pagada.     Parte  I. 

132.  Monteros  (Los)  de  Espinosa. 

133.  Mudable(La). 

134.  Muerte  (La)  del  Maestre. 

135.  Muerto  vencedor  (El). 

136.  Muertos  (Los)  vivos.     Parte  XVIL 

137.  Muza  furioso. 

N 

O  I  38.  Nacimicnto  (El)[?  Nacimiento  de  Christo,  Parte  XXIV. 
Zaragoza,  164 1.  It  con\.;i\nsJigiiras  deldonayre.] 


BIBLIOGRAPHY  OF    LOPE    DE    VEGA  I  I  7 

O  139.  Neroii  cruel.  (?  Parte  XX.  Roma  abrasada.) 
O  140.  Nuevo  (El)  Mundo.     Parte  IV.  Nuevo  Mundo  descu- 
ierto  per  Colon. 


O 


141.  Ocasion  (La)  perdida.     Parte  II. 

142.  Otomano  (El)  famoso. 


143.  Padres  (Los)  enganados. 

0'i44-  Padrino  (El)  desposado.     Parte  II. 

145.  Page  (El)  de  la  Reyna. 

146.  Palabra  (La)  mal  cumplida. 

147.  Pastoral  (La)  de  Albania. 

148.  Pastoral  (La)  de  4os  Zelos. 

149.  Pastoral  (La)  encantada^ 

150.  Pastoral  (La)  de  la  Siega. 

151.  Pedro  Carbonero.     Parte  XIV. 

152.  Peraltas  (Los). 

153.  Perdicion  (La)  de  Espaiia.  [La  Perdida  de  EspaiiaPJ 

154.  Peregrina  (La). 

O  155.  Perseguido  (El).     Parte  I.  Carlos  el  Perseguido. 

O  156.  Pimenteles  y  Quinones.  Parte  XVIII.  La  Piedad 
:xecutada. 

O  157.  Pleyto  (El)  de  Inglaterra.     Parte  XXIII. 

O  158.  Pobreza  (La)  estimada.     Parte  XVIII. 

O  159.  Pobrezas  (Las)  deReinaldos.     Parte  VII. 

160.  Ponzella  (La)  de  Francia. 

O  161.  Primer  (El)  Rey  de  Castilla.     Parte  XVII. 

O  162.  Primero  (El)  Medecis.  Parte  II.  La  Quinta  de  Flo- 
encia. 

163.  Principe  (El)  inocente.  [?  Medel :  El  Principe  ignorante.] 


Il8  HUGO    A.    RENNERT 


164.  Principe  (El)  melancolico. 

O  165.  Principe  (El)  de  Marruecos.     [Parte  XI.  El  Bautismo 
del  Principe  de  Marruecos.] 

166.  Prision(La)  de  Muza.  [See  No.  137.] 
O  167.  Prision  (La)  sin  Culpa.  Parte  VIII. 
168.  Psiques  y  Cupido. 


169.  Quinas  (Las)de  Portugal  (?  Parte  XXII,  Zaragoza,  1630. 
La  Lealtad  en  el  Agravio.) 

R 

170.  Rey  (El)  de  Frisia. 

O  171.    Rey  Vamba  (El).     Parte  I.  Vida  y  Muerte  del  Rey 
Vamba. 

172.  Reyna  (La)  de  Lesbos. 

173.  Reyna  (La)  loca.  ^ 

174.  Rico  (El)  avariento. 

175.  Roberto  (El). 

176.  Romulo  y  Remo. 

177.  Roncesvalles. 

O  178.  Rufian  Castrucho  (El).     Parte    IV.    El    Galan   Cas- 
trucho. 


179.  Salteador(El)  agraviado. 

180.  San  Andres  Carmelita. 
i8r.  San  Julian  de  Cuenca. 

182.  San  Roque. 

183.  San  Segundo  de  Avila. 

184.  San  Tirso  de  Espaiia. 

185.  Saracinesy  Aliatares. 


BIBLIOGRAPHY   OP  LOPE    DE    VEGA  I  I  9 


186.  Semiramis  (La). 

O  187.  Serrana  (La)  del  Tormes.     Parte  XVL  [Cf.  the  charac- 
ter of  Tarreno,  Capigorron.] 

188.  Serrana  (La)  dc  la  Vera.     Parte  VIL 

189.  Sierra  (La)  de  Hspadan. 

O  190.  Sol  (El)  parado.     Parte  XVIL 
O  191.  Soldado(El)  Amante.  Parte  XVIL 

192.  Suerte  (La)  de  los  tres  Reyes.     (Medel.) 

193.  Sufrimiento  (El)  premiado.     Parte  L 


194.  Testimonio  (El)  vengado. 

195.  Toma  (La)de  Alora. 

196.  Tonto  (El)  del  Aldea. 

O  197.  Torneos  (Los)  de  Aragon.     Parte  IV. 

198.  Torneos  (Los)  de  Valencia. 

199.  Torre  (La)  de  Hercules. 

O  200.  Traicion  (La)  bien  acertada.     Parte  L 

201.  Tragedia(La)  de  Aristea. 

O  202.  Tres  Diamantes  (Los).     Parte  IL 

203.  Triunfo  de  la  Limosna. 

204.  Triunfos  (Los)  de  Octaviano. 

205.  Turco  (El)  en  Viena.     (?  Cerco  de  Viena.  S.) 
O  206.  Tyrano  (El)  castigado.     Parte  IV. 


U 


O  207.  Urson  y  Valentin.     Parte  I.  Nacimiento  de  Urson  y 
Valentin. 

208.  Urson  y  Valentin.     Segunda  Parte. 


120  HUGO    A.    REXNKRT 


V 

209.  Valeriana  (La). 

210.  Vaquero  (El)  de  Morana.     Parte  VIII. 

211.  Varona  (La)  Castellana.     Parte  IX. 

212.  Venganza  (La)  de  Gayferos. 

O  213.  Verdadero  (El)  Amante.     Parte  XIV. 

214.  Viage  (El)  del  Hombre. 

215.  Villanesca  (La). 

216.  Viuda  (La)  Valenciana.     Parte  XIV. 

217.  Vizcayna  (La). 


218.  Zelos  (Los)  de  Rodamonte.     MS.  Osuna- 

219.  Zelos  (Los)  satisfechos. 

SUPPLE.MENTARY    LIST   (P'.    1618)    OF    THE    «    PEREGRINO   »  ' 
ARRANGED    IN    ALPHABETICAL    ORDER 

Pieces  marked  *  are  repeated  here  from  the  first  list. 

A 

1.  Albanillo(El).     Medel. 

2.  Acero  (El)  de  Madrid.     Parte  XL 

3.  Achaque  quieren  las  Cosas. 

*  African©  (El)  cruel. 

4.  Alcalde  Mayor  (El).     Parte  XIII. 

5.  Alcazar  (El)  de  Consuegra. 

6.  Alexandre  (La  de). 

7.  Al  passar  del  Arroyo.     Parte  XII. 

*  Amantes  (Los)  sin  Amor.     Parte  XIV. 

8.  Amigo  (El)  hasta  la  Muerte.     Parte  XL 

*  Amigo  (El)  por  Fuerza.     Parte  IV. 

I.  To  tliib  List  of  the  Peregrino  of  1618,  I  have  added  more  than  ninety 
titles  that  were  omitted  in  La  Barrera's  and  Chorley's  Lists.  A  leaf  seems  to 
have  been  missing  (•!•'  4)  in  the  copy  used  bv  La  Barrera. 


BIBLIOGRAPHY   Ol"  LOPE    DE  VEGA  121 

9.  Amistad  (La)  pagada.     Parte  I. 
*  Amor  (El)  desatinado. 

10.  Amor  secreto  hasta  Zelos.     Parte  XIX. 

11.  Amor  Soldado  (El). 

12.  Animal  (El)  de  Ungria.     Parte  IX. 

13.  Anzuelo  (El)  de  Fenisa.     Parte  VIII. 

14.  Arauco  domado.     Parte  XX. 

15.  Arcadia  (La).     Parte  XIII. 

16.  Arellanos  (Los). 

17.  Arminda  celosa.     MS.  Duran. 

18.  Asalto  (El)  de  Mastrique.     Parte  IV. 

19.  Asturianas  (Las).     (?  Parte  XVII.  Las  famosas  Asturia- 
nas.) 

20.  Atalanta  (La). 

21.  Ausente  (El)  en  el  Lugar.     Parte  IX. 

B 

22.  Barlaan  y  losaphat.     MS.  autog.  (Holland),  1611. 

23.  Batalla  (La)  del  Honor.     Parte  VI.  MS.  autog.  (Olozaga), 
1608. 

24.  Batuecas  (Las).     Parte  XXIII. 

25.  Bobo  (El)  del  Colegio.     Parte  XIV. 

26.  Boda  (La)  entre  dos  Maridos.     Parte  IV, 

27.  Brauo  (El)  Don  Manuel.     (Don  Manuel  de  Souza  ?) 

28.  Brauo  (El)  Don  Manuel.     Segunda  Parte. 

29.  Buena  (La)  Guarda.     MS.  autog.  (Pidal),  16 10. 

30.  Burgalesa  (La)  de  Lerma.     Parte  X.  MS.  (Osuna),  1613. 


*0  Caballero  (El)  de  Yllescas.     Parte  XIV. 

31.  Caballero  (El)  del  Sacramento.     Parte  XV.  MS.  autog. 
(Holland),  16 10. 

32,  Cada  uno  haze  como  quien  es. 


HUGO    A.    RENNERT 


33.  Capellan  (El)  de  la  Virgen.     Parte  XVIII. 

34.  Cardenal  (El)  de  Belen.     Parte  XIII. 

3).  Carlos  V.  en  Francia.     Parte  XIX.  MS.  autog.  1604. 

36.  Caruaxalcs  (Los).     Parte  XIX.  (La  inocente  Sangre.) 

37.  Casamiento  (El)  en  la  Muerte.     Parte  I. 

38.  Casta  (La)  Penelope. 

39.  Castelvines  y  Monteses.     Parte  XXV. 

40.  Castigo  (El)  del  Discrete.     Parte  VII. 

41.  Castigo  (El)  exemplar. 

42.  Comendador  (El)  de  Ocana.     Parte  IV.  (Peribaiiez  y  el 
Comendador  de  Ocaiia.) 

43.  Conde  (El)  Fernan  Goncalez.     Parte  XIX. 
*  Conquista  (La)  del  Andaluzia. 

44.  Conquista  (La)  de  Cortes. 

45.  Conquista  (La)  de  Tenerife.     Parte  X.  Los  Guanches  de 
Tenerife. 

46.  Con  su  Pan  se  lo  coma.     Parte  XVII. 

47.  Cortesia  (La)  de  Espaiia. 

48.  Cuerdo  (El)  en  su  Casa.     Parte  VI. 

D 

49.  Dama  (La)  boba.     Parte  IX.  MS.  autog.  (Osuna),   1613. 

0.  De  donde  diere. 

1.  Desconfiado  (El).     Parte  XIII. 

2.  Desden  (El)  vengado.     MS.  autog.  (Osuna),    1617. 

3.  Del  mal  lo  menos.     Parte  IX. 

4.  De  quando  aca  nos  vino.     Parte  XXIV. 

5.  Despertar  a  quien  duerme.     Parte  VIII. 

6.  Desposorio  (El)  encubierto.     Parte  XIII. 

7.  Dicha  (La)  del  Forastero.     Escog.  III. 

8.  Dicha  (La)  muerto  su  Dueno. 

9.  Discreta  (La)  Enamorada.     Escog.  III. 
60.  Don  Beltran  de  Aragon.     Parte  III,  De  Lope  y  otros. 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  1 23 

61.  Don    Diego  de    Noche.     Escog.    VII.    ascribed   to  Rojas 
Zorrilla. 

62.  Don  Juan  de  Castro.     Parte    Primera.     [  „         ^.„ 

63.  Don  Juan  de  Castro.     Parte  Segunda.     \ 

64.  Don  Lope  de  Cardona.     Parte  X. 

65.  Donzella  Teodor  (La).     Parte  IX. 

66.  Doiia  Ynes  de  Castro. 

67.  Duque  (El)  de  Osuna. 

68.  Duque  (El)  de  Verganca.     Parte  VIIL  (El  mas  galan  Por- 
tugues.) 

69.  Duque  (El)  de  Viseo.     Parte  VL 

70.  Duques  (Los)  de  Saboya. 


71.EII0  dira.     Parte  XIL 

72.  El  no  esperar  a  Mafiana. 

O*  Embustes  (Los)  de  Fabia.     Parte  XXV. 

73.  Enemigos  (Los)  en  Casa.     Parte  XIL 

74.  Esclava  (La)  de  su  Hijo.     (El  Pastor  Soldado.) 

75.  Espada  (La)  pretendida. 

76.  Exemplo  (El)   de  Casadas.     {Flor  de  Comedias,  Parte  V. 
Alcala,  161 5  ;  Barcelona,  1616.) 


77.  Fabula  (La)  de  Perseo.     Parte  XVI. 
*  Fe  rompida  (La).     Parte  IV. 

78.  Firmeza  (La)  en  la  Desdicha.     Parte  XII. 

79.  Flores  (Las)  de  Don   Juan,  6  el  Rico  y  Pobre  trocados. 
Parte  XIL 

80.  Fortunas  (Las)  de  Beraldo.  [?  Belardo.J 

81.  Fuente  Ovejuna.     Parte  XII. 


124  HUGO    A.     RENNERT 


82.  Gahm  (El)  dc  la  Menbrilla.     Parte  X.    MS.   autog.   Brit. 
Mus.  161 5. 

83.  Galan  (El)  Mendoca. 

84.  Gallardo  Jacobin  (El).     [See  Alphabetical  list.] 
83.  Ginoves  (El)  liberal.     Parte  IV. 

S6.  Godo  (El)  ilustre. 

87.  Guia  (La)  de  la  Corte. 

88.  Gran  Duquc  (El)  de  Moscovia.     Parte  VII. 

H 

89.  Halcon  (El)  de  Federico.     Parte  XIII. 

90.  Hamete  (El)  de  Toledo.     Parte  IX. 

91.  Hcrmano  (El)  Francisco.     [El  Rusticodel  Cielo  (?)]  Parte 
XVIII. 

92.  Hermosa  (La)  Ester.     Parte  XV. 

93.  Hermosura  (La)  aborrecida.     Parte  VII. 

94.  Hidalgos  (Los)  del  Aldea.     Parte  XII. 

95.  Hijo(El)del  Olmo. 
*0  Hijo  (El)  de  si  mismo. 

96.  Hijo  (El)  sin  Padre.     Parte  XXIV,  Madrid,  1640  (?). 

97.  Historia  (La)  de  Tobias.     Parte  XV. 

98.  Hombre  (El)  de  bien.     Parte  VI. 

99.  Hombre  (El)  por  su  Palabra.     Parte  XX. 

100.  Honrado  Hermano  (El).  Parte  XVIII. 

1 01.  Honrado  pcrseguido  (El). 

102.  Hiunildad  (La)  y  la  Soberbia.     Parte  X. 

I 

103.  Iniperio  (El)  por  Fuerza. 

io.|.  Imp()siblemayor(El).  (El  mayor Imposiblc.  Parte XXV.) 


BIBLIOGRAPHY    OF    LOPE    DK    VEGA  1 25 

J 

*  Jorge  Toledano.     Parte  XVII. 

105.  Juan  de  Dios.     San  Juan  de  Dios,  Parte  X. 

106.  Jueces  (Los)  de  Castilla.     [Moreto,  Tn  his  Parte  I.   (?)J 

107.  Juez  (El)  en  su  Causa.     Parte  XXV,   and  Parte  XXIV, 
Madrid,  1640. 


108.  Laberinto  (El)  de  Creta.     Parte  XVI. 

109.  Lazarillo  de  Tormes. 
no.  Libertad  (La)  vendida. 

111.  Lo  que  ay  que  fiar  del  Mundo. 

112.  Lo  que   passa   en    una  Tarde.     MS.    autog.  (Osuna), 
1617. 

113.  Lo  que  pueden  Celos. 

114.  Locura  (La)  por  la  Honra.     Parte  XL 

115.  La  Lucrecia. 

116.  Llegar  en  Ocasion.     Parte  VL 

M 

117.  Madre  (La)   Teresa  de  Jesus.     Medel;    MS.    (Osuna.) 
Santa  Teresa  de  Jesus. 

1x8.  Magdalena  (La).     Medel;  MS.  Gayangos.  La  mejor  Ena- 
morada  :  la  Magdalena. 

119.  Mai  casada  (La). 

120.  Martyr  (El)  de  Florencia. 

121.  Mas  vale  saber  que  auer. 

122.  Mayordomo  (El)  de  la  Duquesa  de  Amalfi.     Parte  XL 

123.  Mejor  (El)  Moco  de  Espana.  Parte  XX. 

124.  Mejor  (El)  Representante.     Parte  XVI.  Lo  fingido  verda- 
dero.  San  Gines  Representante. 

125.  Melindres  (Los)  de  Belisa.     Parte  IX. 


126  HUGO    A.    RENNERT 


126.  Miente  quiL-n  jura  y  ama. 

127.  Moca  Gallega  (La). 
*0  Mucrto  (El)  Vencedor. 

128.  Mugeres  (Las)  sin  Hombres.     Parte  XVL 

129.  Mugeres  y  Criados. 

N 

130.  Necedad  (La)  del  Discrete.     Parte  XXV. 

131.  Nina  (La)  de  Alcorcon. 

132.  Nina  (La)  de  Plata.     Parte  IX. 

O  133.  Nino  (El)  inocente.     Parte  VIIL  El  Nino  inocente  de 
la  Guardia. 

134.  Noche  Toledana  (La).     Parte  111,  de  Lopeyotros. 

O 

135.  Obediencia (La)  laureada.     Parte  VI.  (El  primer  Carlos 
de  Ungria.) 

136.  Obrasson  Amores.     Parte  XL 

137.  Octava  (La)  Maravilla.     Parte  X. 

138.  Oste  morena. 


139.  Paces  (Las)  de  los  Reyes.     Parte  VIL 
*0  Padrino  (El)  desposado.     Parte   II. 

140.  Pedro  de  Urdemalas.     S.  Duran.  [Las  Burlas  de  Pedro 
de  Urdemalas  (?)] 

141.  Peligro  (El)  de  alabarse. 
*0  Peraltas  (Los). 

142.  Pcrro  (El)  del  Hortelano.     Parte  XL 

143.  Piadoso  (El)  Vencciano.     Parte  XXIIL 
*  Pimenteles  y  Quinones. 

144.  Platcro  (El)  del  Cielo. 


BIBLIOGRAPHY   OF    LOPE  DE  VEGA  1 27 

145.  Poder  (El)  vencido.     Parte  X. 

146.  Ponces  (Los)  de  Barcelona.     Parte  IX. 

147.  Porceles  (Los)  de  Murcia.     Parte  VIL 

148.  Postrer  Godo  (El)  de  Espaiia.     Parte   VIII   and  Parte 
XXV.  El  ultimo  Godo. 

149.  Prados  (Los)  de  Leon.     Parte  XVI. 

150.  Premio  (El)  de  la  Hermosura.     Parte  XVI. 

Primer  (El)  Carlos   de  Vngria.  (It   is  La  obediencia  laiircada, 
above.) 

151.  Primer  (El)  Christiano. 

152.  Principe  (El)  Carbonero. 
*  Principe  (El)  inocente. 

153.  Principe  (El)  perfeto.     Primera  Parte.  Parte  XL 

154.  Principe  (El)  perfeto.     Segunda  Parte.  Parte  XVIII. 

155.  Prision  (La)  de  los  Bencerrages. 

156.  Prudencia  (La)  vitoriosa. 

157.  Prueba  (La)  de  los  Amigos.     Medel.  MS.  autog.  (016- 
zaga),  1604. 

158.  Prueba  (La)de  los  Ingenios.     Parte  IX. 


159.  Quien  mas  no  puede.     Parte  XVII. MS.    autog.  (Mur- 
ray), 1 61 6. 

160.  Quinta  (La)    de  Florencia.     [This    appears   to   be    the 
same  as  El  primer  Med  ids.  Parte  II.) 

R 

161.  Ramilletes  de  Madrid.     Parte  XL 

162.  Remedio  (El)  en  la  Desdicha.     Parte  XIII. 
*  Reyna  (La)  de  Lesbos. 

163.  Rey  (El)  sin  Reyno.     Parte  XX. 

164.  Robo  (El)  de  Flora. 

165.  Rodulpho  y  Oton. 


128  HUGO    A.    RENXERT 


1 66.  Roma  abrasaJa.     Parte  XX. 

167.  Roque  Dinarte. 

168.  Ruiscnor  (El)  de  Sevilla.     Parte  XVII, 


169.  San  Adrian  y  Santa  Natalia. 

170.  San  Agustin.     Parte  XVIII.  El  divino  Africano. 

171.  San  Angel  Carmelita. 

172.  San  Antonio  de  Padua. 

173.  San  Isidro  de  Madrid.     Parte  VII. 

174.  San  Juan  de  Dios.  (?)  Parte  X.  Juan  de  Dios 
y  Anton  Martin.) 

175.  San  Martin. 

176.  San  Nicolas.  San  Nicolas  de  Tolentino  (?)  Parte  XXIV. 
Zaragoza.  1641. 

177.  Santiago  el  Verde.     Parte  XIII. 

178.  Santo  (El)  de  Valencia. 

179.  Santo  Negro  (El).  Parte  III,  de  Lope  y  otros  ;  El  Santo 
Negro  Rosambuco. 

180.  Santo  Tomas  dc  Aquino. 

181.  Secretario  (El)  de  si  mismo.     Parte  VI. 

182.  Secreto  (El)  bien  guardado. 

183.  Sembrar  (El)  en  buena  Ticrra.  Parte  X.  MS.  autog. 
(Brit.  Mus.),  16 16. 

184.  Serafin  (El)  humano.     Parte  XIX. 

185.  Serrana  (La)  de  Burgos.     Parte  Primera. 

186.  Serrana  (La)  de  Burgos.  Parte  Segunda. 

187.  Servir  a  Seiior  discrete.     Parte  XL 

188.  Servir  (El)  con  mala  Estrella.     Parte  VI. 

O  189.  Siete  (Los)  Infantes  de  Lara.  Parte  XXI\',  Zara- 
goza, 1 64 1.  (El  Bastardo  Mudarra,  MS.  autog. (Olo/aga),  1612.) 

190.  Sortija  (La)  del  Oluidado  (i/V).  Parte  XII.  La  Sortija 
del  Oluido. 


BIBLIOGRAPHY   Ol-    LOPE    DE    VEGA  12^ 


191.  Testigo  (El)  contra  si.     Parte  VI. 
*  Tirano  (El)  castigado.     Parte  IV. 

192.  Todo  es  facil  a  quien  ama. 

193.  Toma  (La)  de  Longo  per  el  Marques  de  Santa  Cruz. 
Parte  XXV.  (La  Vitoria  del  Marques  de  Santa  Cruz). 

194.  Tres  (Los)  Consejos. 

195.  Truhan  (El)  Napolitano. 

V 

196.  Valiente  (El)  Cespedes.     Parte  XX. 

197.  Valor  (El)  de  las  Mugeres.     Parte  XVIII. 

198.  Vandos  (Los)  de  Sena.     Parte  XXI. 
*0  Vaquero  (El)  de  Morana.     Parte  VIII. 

199.  Vellocino  (El)  de  Oro.     Parte  XIX. 

*0  Veneno  (El)  saludable.     (It   is  El  ciierdo  loco  of  the  first 
list.) 

200.  Venganza  (La)  venturosa.     Parte  X. 

201.  Ventura  (La)  sin  buscalla.     Parte  XX. 

202.  Villana  (La)  de  Getafe.     Parte  XIV. 

203.  Villano  (El)  en  su  Rincon.     Parte  VII. 

204.  Virtud,  Pobreza  y  Muger.     Parte  XX. 

205.  Vitoria  (La)  del  Honor.     Parte  XXI.  La  Vitoria  de  la 
Honra. 

206.  Viuda  (La),   Casada  y  Doncella.     Parte  VII. 

207.  Vuelta  (La)  de  los  Espanoles  en  Flandes. 


208.  Zelos  (Los)  sin  Ocasion  ', 


I .  The  list  of  P^.  in  Cliorley's  Catalogue  contained  113  titles;  the  above  list 
has,  therefore,  been  increased  by  95  titles. 

REVUE    HISPANIQUE.    G.  9 


I?0  HUGO    A.    RENNERT 


SUMMARY    OF  THE    LISTS  IN  THE  PHREGKIXO. 

Of  the  219  pieces  named  in  the  original  list  (P)  of 
1603  (including  some  which  probably  exist  under  other 
titles,  but  omitting  those  which,  though  noted  by  Medel, 
have  not  reached  us)  there  survive  in  print  or  in  manu- 
script        103 . 

Of  the  208  pieces  named  in  the  supplementary  list  (P-) 

ot  1 6 18,  there  survive  in  print  or  in  manuscript 150. 

253, 

Of  the  427  pieces  named  in  the  two  lists,  there  are 
inedited  or  lost 174  • 


427 


NOTE  ON  THE  COMEDIAS  WHICH  CONTAIN  NO  FIGVRA  DEL  DOXAYRE. 

The  poet  first  introduced  the  figitra  del  donayrc  in  La  Francesilla 
(Parte  XIII).  This  play,  as  he  tells  us  in  the  dedication,  was 
written  before  1602,  and  perhaps  even  before  the  end  of  the 
sixteenth  century.  The  character  was  received  with  so  much 
applause  that  it  subsequently  became  almost  indispensable.  Of  the 
coinedias  played  from  the  first  third  of  the  seventeenth  century 
till  the  downfall  of  the  National  Theatre,  none  is  without  this 
role  ;  and  it  is  practically  certain  that  not  only  Lope,  but  also  all 
the  dramatists  of  his  time,  introduced  ihejigura  del  donayre  into 
the  coinedias  which  were  written  after  La  Francesilla.  Thus, 
speaking  generally,  we  may  presume  (with  a  high  degree  of  pro- 
bability) that  the  coinedias  (by  Lope  or  others)  in  which  this 
character  is  absent  date  from  before  the  year  1602.  As  appears 
from  the  foregoing  list  of  the  coinedias  by  Lope,  issued  in  his 
Special  Collection,  there  are  at  least  72  without  a  gracioso;  and 
of  these  we  may  assign  the  majority  (if  not  the  whole)  to  his 
first  period  —  the  closing  decade  of  the  sixteenth  century. 

The  comedias  of  this  class  —  the  titles  of  which  are  given  in 


BIBLIOGRAPHY    OF   LOPE    DE    VEGA  I  3  I 


the  original  list  of  the  Peregrino  —  do  not  include  all  those  in 
print,  and  hence  it  may  be  conjectured  that  they  precede  La  Fran- 
cesilla  in  point  of  time.  In  the  Special  Collection  of  Lope's  Comc- 
dias,  for  example,  we  find  the  following  —  all  without  a  Jigura 
del  donayre  —  and  their  style  and  construction  are  not  character- 
istic of  Lope  in  his  maturity  : 

Amistad  pagada  (La).     Parte  L  1604. 

Casamiento  (El)  en  la  Muertc.     P\  Parte  L 

Desposorio  (El)  encubierto.     P-.  Parte  XIIL  1620. 

Exemplo  (El)de  las  Casadas.  P-.  Flor  de  Coinedias,  Parte  V. 
1616. 

Famosas  (Las)  Asturianas.     P-.  Parte  XVIII,  1623. 

Fingido  (Lo)  verdadero.  P'.  El  mejor  Representante,  Parte 
XVI,  1 62 1. 

Nino  (El)  inocente.     P\  Parte  VIII'. 

It  is  not,  however,  to  be  understood  that  Lope,  after  inventing 
the  gracioso,  introduced  this  character  into  all  his  subsequent 
pieces.  Proof  to  the  contrary  is  afforded  by  El  Bastardo  Madarra, 
which  exists  in  an  autograph  dated  1612,  and  has  no  figura  del 
donayre.  And  I  imagine  that  in  other  plays  which  Lope  wrote 
towards  the  beginning  of  the  seventeenth  century  —  plays  on 
historical  subjects,  and  the  plays  which  he  called  tragicomedias  — 
the  not  unfrequent  omission  of  the  comic  personage  is  deliber- 
ate. Perhaps  among  this  class  were  : 

Las  famosas  Asturianas. 

La  Imperial  de  Oton. 

Lo  Fingido  verdadero. 

Moreover,  it  should  be  observed  that  even  when  graciosos  are 
introduced  into  plays  of  this  kind,  Lope  presents  these  charac- 
ters most  discreetly.  He  never  allows  them  to  degenerate  into 
impertinence,  as  did  the  other  dramatists  of  his  period  in  their 

I.  The  comedia  La  Lealtaden  la  Tmycion  has  no  figura  del  donayre,  though 
the  MS.  noted  by  Hartzenbusch  and  La  Barrera  (see  ante,  p.  81)  is  said  to  be 
dated  1617.  But  there  may  be  some  mistake  as  to  the  year. 


IT^2  HUGO    A.    RENNERT 


serious  plays  :  and  as  Calderon,  and  his  contemporaries,  did  in 
still  greater  measure.  As  examples  of  Lope's  fine  judgment  in 
this  matter,  take  the  comedias  entitled  : 

El  Conde  Fernan  Gonzalez,  Parte  XIX,  and,  Las  Batuecas 
Parte  XXIIL 

Here  the  jests  are  few  in  number,  and  are  allotted  to  plebeians. 
His  good  taste  is  further  illustrated  by  his  assignment  of  comic 
passages  to  the  servants  in  such  pieces  as 

Las  Cuentas  del  Gran  Capitan  and  La  Inocente  Sangre. 
In  the  following  plays,  which  have  no  comic  role,  there  were 
probably  special  reasons  for  its  omission  : 

El  Premio  de  la  Hermosura,  Parte  XVI.  We  learn  from  the 
dedication  that  this  piece  was  written  —  not  for  the  public 
theatre,  but  —  by  command  of  the  Queen  (Philip  Ill's  wife, 
Doiia  Margarita  of  Austria)  who  died  in  1611.  It  was  destined 
to  be  played  in  the  Palace  before  the  royal  family  and  court, 
and  we  are  expressly  informed  —  «^  que  la  traia  fue  de  las  damas  ». 
It  would  appear  that  this  comcdia  was  written  very  shortly  before 
161 1,  for  the  dedication  implies  that  the  Infantes  acted  in  the 
play, 

Dios  hace  Reyes,  Parte  XXIIL  The  author  inaugurated  the 
Alcazar  Theatre'  (Casiano  Pellicer,  I,  p.  161)  with  this  play  on 
July  28,  1621,  the  corrales  having  been  closed  from  March  31 
on  account  of  Philip  Ill's  death.  Pellicer  adds  :  «  the  representa- 
tion was  such  that  there  was  no  dancing  in  it.  »  This  was  probab- 
ly due  to  the  fact  that  the  period  of  mourning  was  not  yet 
over;  and  for  the  same  reason,  it  may  be  presumed  that  Lope 
purposely  refrained  from  presenting  a  ^rflJc/aso  in  a  play  written  for 
the  occasion.  [J.  R.  C.] 


I.  There  is  a  slight  mistake  here:  there  was  no  Alcazar  Theatre  in  Madrid. 
Alcazar  is  a  mis-reading  for  Alcaraz  [Diego  Lopez  de],  the  name  of  the  atitor  de 
comedias  whose  theatrical  company  gave  the  first  representation  when  the 
theatres  were  again  opened  at  Madrid.  See  my  Spanish  Stage,  ^.  229,  and  note  4. 


BIBLIOGRAPHY  OF   LOPE    DE  VEGA  I  33 


CATALOGUE  OF  LOPE  DE  VEGA'S  COMEDIAS 
IN  ALPHABETICAL  ORDER 

For  the  convenience  of  readers  who  may  wish  to  have  a  con- 
spectus of  the  plays  ascribed  to  Lope  de  Vega,  the  following 
alphabetical  list  of  titles  has  been  drawn  up.  Incases  where  the 
ascription  is  admittedly  mistaken,  the  fact  is  noted,  and  the 
name  of  the  real  author  has  been  given  when  it  was  possible  to 
do  so.  Appended  is  the  key  to  the  abbreviations  used  in  this 
table. 

Abbreviations. 

Acad.  :=:z  Obras  de  Lope  de  Vega,  publicadas  por  la  Real  Academia  Espa- 
nola.  Madrid,  1890  -to  date.  Thirteen  volumes,  edited  by  D.  Marceliuo 
Mentodez  y  Pelayo.  _     — TjCckJ  .  ^-^  ' 

Tffl^.  Brit.  Mus.  r=  Collection  of  the  Earl  of  Arlington,  now  in  the   Brit.  e<S '^  *-  ^  Ci 

Mus. 

Bib.  Nac.  1^  Biblioteca  Nacional,  Madrid. 

Brit.  Mus.  =  British  Museum. 

Cat.  B.  N.  =1  Catalogo  de  las  Piezas  de  Teatro  que  se  conservan  en  el 
Departamento  de  Manuscritos  en  la  Bib.  Nac.  Por  A.  Paz  y  Melia.  Madrid, 
1899. 

Com.  ined.  1873  =  Comedias  ineditas  de  Frey  Lope  Felix  de  Vega  Carpio. 
Tomo  primero  (y  unico)  Madrid,  Rivadeneyra,  1873.  [Colecciou  de  Libros 
Espanoles  raros  6  curiosos.  Tomo  sexto.J  It  contains  four  plays. 

Dif.  =  Comedias  de  Diferentes  (or  Varios)  Autores.  La  Barrera,  Calidogo, 
pp.  683  and  foil. 

Duran.  =  Formerly  in  Agustin  Duran's  collection  (now  in  the  Bib. 
Nac). 

Escog.  =  Comedias  escogidas  de  los  mejores  Ingenios  de  Espana  (1652- 
1704),  forty-eight  volumes.  The  contents  of  these  volumes  are  given  in 
Schack,  Geschichte,  Vol.  Ill,  pp.  523-544;  and  in  La  Barrera,  Catalogo,  pp.  687- 

705. 

Fajardo  =  MS.  Index  of  Comedias  by  Juan  Isidro  Fajardo  :  M.  53  in  Bib. 
Nac. 

Gayangos  :=.  In  Pascual  de  Gayangos's  collection,  now  in  the  Bib.  Nac. 

GL.  1 61 7  1^  Cuatro  Comedias  famosas  de  D.  Luis  de  Gongora  y  Lope  de 
Vega,  recopiladas  por  x\ntonio  Sanchez,  Madrid,  161 7. 

H.  =:  Noted  in  the  catalogue  of  Vicente  Garcia  de  la  Huerta  (1785)  ;  when 
followed  by  a  roman  numeral  =  the  Comedias  Escogidas  de  Lope  de  Vega, 
edited  by  Juan  Eugenic  Hartzeubusch. 


134  HUGO    A.    RENNERT 


^^.  XLV  >L\/. 


H .  A .  R .  -::i  In  Hugo  Albert  Rennert's  coUectioii . 
'      Hdlland4=  In  the  possession  of  Lord  Hollands — "if^ryvvyiAv    (fejlMi^  /m»> 

Hoz  y  Mota  r=  Juan  de  la  Hoz  y  Mota.  wyvW^ 

J.R.C.  =:  In  John  Rutter  Chorley's  collection. 

M.  :=  Noted  in  the  catalogue  of  Medel  del  Castillo  (1755)- 
<"Vo  '■'^^^^b'^.)      Mes    Rom.  —  Mesonero  Romanos,  Vols.  XLV  aad-XLVII  of  the  BibHo- 
:i>'o»  dl  Ia^cjt     teca  de  Autores  hspanoles. 
^  c^*-  <-'>'*^^        Mod.  Lang.   Rev.  ;—  Modern  Language  Review.  Articles  by  H.   A.  Ren- 
nert. 

MS.  aut.  =  Autograph  manuscript. 

MS.  copv  :=:  Copy  of  original  manuscript. 

Obr.  suelt.  =  Coleccion  de  las  Obras  sueltas,  assi  en  Prosa  como  en  Verso 
de  Frey  Lope  Felix  de  Vega  Carpio.  Madrid,  Sancha.  1776-79.  21  vols. 

Osuna  -^  Formerly  in  the  Duke  of  Osuna's  Library  (now  in  the  Bib. 
Nac). 

P  and  P^  =^  The  Lists  of  Lope's  comedias  contained  in  the  Prologue  to  El 
Peregriiio  en  su  Patria,  in  the  edition  of  1604  and  1618  respectively. 

Parma  ^^^  In  the  Biblioteca  Palatinaat  Parma  [A.  Restori,  Una  CoUeiioue  di 
Coiiniu'die  di  Lope  de  Vega,  Livorno,  1891]. 

Restori  —  Prof.  Restori's  reviews  of  the  Academy's  edition  of  Lope  in  the 
Zeitschrift. 

Rocamora  r=  Catalogo  abreviado  de  los  Manuscritos  de  la  Biblioteca  del 
Excmo.  Seiior  Duque  de  Osuna  e  Infantado,  por  Don  Jose  Maria  Rocamora . 
Madrid,  1888. 

S.  nr  Stielta. 

Vega  del  P.  =  Vega  del  Parnaso.  Por  el  Fenix  de  Espana,  Frey  Lope  Felix 
de  Vega  Carpio.  Madrid,  1637. 

Ztft.  =  Zeitschrift  fiir  romanische  Philologie,  particularly  the  articles  by 
Prof.  Restori. 

The  Roman  numerals  refer  to  the  large  collection  of  Lope's  Comedias,  con- 
sisting of  twenty-five  Parts,  which  are  described  in  the  text  (see  pp.  10-34), 
and  which  appeared  between  1604  and  1641. 

*An  asterisk  indicates  that  nothing  is  known  of  the  play  except  that  it  is 
mentioned  in  the  works  indicated  by  the  letters  that  follow. 


Abanillo  (El).  —  P^  ;  M. ;  H. ;  MS.  copy  (Parma).  El  Abanillo 
was  represented  before  the  King  by  the  company  of  Antonio  de 


BIBLIOGRAPHY   Or    LOPE   DE  VEGA  1^5 

Prado  in  February,  1623.  v.  Mod.  Lang.  Review  (1907),  p.   331,  «/<'av  N'JD.,^ 
*Abderite  (La).  —  P.  v.  Z///.  XXIII,  p.  45i.\/.  J^l^c^  M^ 
*Abindarraez  y  Narvaez.   —  P.  (See  El  Remedio  en  la  Desdi- 
cba.) 

^Abraham.  —  Conicdia  attributed  to  Lope  in  a  list  of  plays 
in  the  possession  of  Juan  Jeronimo  Almella  in  1628.  Bnllelin 
Hispanique  (1906),  376.  v.  Rcstori,  Uii  Eleuco  de  Comedias  dc 
1628.  Torino,  1912,  p.  830. 

Acero  (El)  de  Madrid.  —  P^;  XI;  H.,  L,  365.  MS.  copy 
(Parma).  This  is  the  First  Part  only.  On  the  source  of  this  play 
V.  Ztft.fiirfraii:^.  Sprache  it.  Litt.  (1898),  vol.  XXII,  pp.  190-229. 
The  opening  scene  is  imitated  by  Moreto,  in  De  juera  vendrd. 

Acertar  errando.  —  MS.  copy  (Cat.  B.  N.  No.  420)  ;  Parma. 
S.  (J.  R.  C).  According  to  Schack  (Nacblrdge,  p.  40),  it  is  the 
same  as  ElEmbajador  fingido,  printed  for  the  first  time  at  Lisbon 
or  Seville,  about  1603.  [Schack  says  that  he  has  grounds  for 
presuming  the  existence  of  such  a  volume  :  no  Spanish  biblio- 
grapher, however,  has  ever  seen  it  or  mentioned  it.]  And  while 
we  read  the  same  statement  in  the  Cat.  B.  N.  No.  420,  this  is 
mere  conjecture.  It  is  not  in  the  Seis  Comedias  de  Lope  de  Vega 
Carpio,  Lisboa,  Pedro  Crasbeeck,  1603,  nor  in  the  Madrid  issue 
of  the  same  year.  See  La  Barrera,  Catdlogo,  p.  679,  and  LifeoJ 
Lope  de  Vega,  p.  157.  n.  Chorley  thinks  that  Schack  is  mistaken, 
and  that  this  play  is  later  than  La  Francesilla.  He  bases  his  opin- 
ion on  the  maturity  of  the  style  and  on  the  fact  that  a  Jigura 
del  donayre  is  introduced  in  the  person  of  Tarquino.  He  points 
to  Acertar  errando  as  a  play  which  alone  suffices  to  refute  the 
assertion  that  the  Spanish  drama  is  weak  in  the  drawing  of  char- 
acter; and  notes  that  the  expedient  employed  by  Aurora  to  get 
speech  with  Carlos  is  appropriated  by  Calderon  in  El  mayor 
Encanto  Amor.  Invention  apart,  Chorley  ranks  Lope's  play  much 
above  Calderon's  performance,  and  bestows  warm  praise  on  the 
First  Scene  of  the  Second  Act.  The  suelta  ends  thus  : 


136  HUGO    A.    RENNERT 


Carlos.  Y  va  que  se  acaba,  seaado, 

el  Etnhaxador  fiiigido . 
Aurora.  Y  aqui  el  Accrtar  erratido. 

The  play  held  the  stage  for  many  years  and  was  represented 
by  Adrian  Lopez  on  January  6,  1653.  aA^la^^  Z^-  /^,    '^^ 

*Achaque  quieren  las  Cosas.  —  P-. ;  M. 

Achaques  de  Leonor.  —  Mes.  Rom.  Doubtful.  [Mesonero 
Romanos  gives  this  title  as  Achaques  de  Honor. ^ 

Adonis y  Venus.  —  P.;  M.;  XVI;  H.,.IV.,  417;  Acad.  VI., 
also  called  simply  El  Adonis :  see  Life  of  Lope,  p.  290.  According 
to  the  dedication  this  is  a  Fiesta  real.  Frondoso,  the  pastor  gra- 
cioso,  is  a  simple,  hut  not  a  true  figiira  del  donayrc.  v.  Ztft,  XXIII, 
p.  434,  and  foil. 

Adultera  penitente  (La).  —  S.  (Gayangos).  Doubtful.  Medel 
mentions  an  Adultera  Penitente,  and  there  is  an  auto  by  Lope 
(MS.)  in  the  Osuna  collection,  entitled  La  Adultera  perdonada. 
[This  auto  is  now  printed  in  Acad.  III.  The  comedia  is  probably 
by  tres  ingenios  :  Moreto,  Matos  and  Cancer.  See  Cat.  B.  N. 
No.  50.  It  is  printed  in  Escog.  IX.]  In  my  copy  of  the  suella  of 
this  play  (Madrid,  Antonio  Sanz,  1738),  it  is  ascribed  to  the 
three  ingenios  just  mentioned. 

Ad  versa  Fortuna  (La)  de  D:  Bernardo  de  Cabrera.  —  H. 

In  Doce  Comedias  de  Lope  de  Vega  y  otros  autores,  Huesca,  1634, 
where  it  is  ascribed  to  Lope,  but  La  Barrera  queries  whether  it 
may  not  be  Mescua's  (Cat.  p.  683).  According  to  Duran  the 
author  of  this  play  uses  the  pseudonym  Lisardo  ;  so,  too,  in 
Arniinda  celosa.  \  Lisardo  is  the  pseudonym  of  Luis  de  Vargas 
Manrique.  a  brother  of  the  Condesa  de  Siruela,  D\  Isabel  Man- 
rique  de  Vargas ;  he  was  a  friend  of  Lope,  and  wrote  plays,  as  is 
well  known.  He  wrote  comedias  in  Madrid  in  1585  (?)  for  Mateo 
de  Salcedo.  v.  Life  of  Lope,  p.  29  ;  Bonilla,  Anales,  p.  151].  \A-tM~ 

Adversa  Fortuna  (La)  del  Infante  D.  Fernando  de  Portugal. 
—  H.  Osuna.  Tom.  132.  ff.  95.  La  Barrera  says  the  story  is  the 
same  as  Calderon's  El  Principe  constante,  Fajardo  states  that  this 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  1 37 

comedia  is  contained  in  :  Comedias  de  Lope  dc  Vega  Carpio  y  otros 
Autores,  Sevilla  (?).  La  Barrera,  Caldloc^o,  p.  683.  Very  doubt- 
ful. 

*Afi-icano  (El)  cruel.  —  P.  ;  P^ 

Agraviado  (El)  leal.  —  (See  La  Firinexa  en  la  Desdicha.) 

Agravio  (El)  dichoso.  —  This  is  the  alternative  title  of  La 
Locura  por  la  Hour  a,  Parte  11. 

Alcaide  (El)  de  Madrid.  —  P.  ;  M. ;  H.  (anon.);  MS.  copy 
(Osuna),  Cat.  B.  N.  No.  74.  Rocamora,  No.  229.  In  the  opin- 
ion of  Menendez  y  Pelayo  it  is  doubtful  whether  the  Osuna 
MS.  is  identical  with  the  comedia  cited  in  Lope's  list.     A^  <V-  A  -/»  ^  ^r- 

Alcalde  (El)  de  Zalamea.  —  H.;  S.  (Holland  and  J.  R.  C); 
MS.  copy  (Duran  and  Parma).  Cat.  B.  N.  No.  420.  v.  Ztft.  XXXI, 

499. 

Printed  together  with  Calderon's  play  of  the  same  title  in  : 
Max  Krenkel,  Klassische  Buhnendichtiingen  der  Spanicr.  Vol.  Ill, 
Leipzig,  1887;  Acad.  XII.  «  Calderon's  comedia  is  based  on  Lope's. 
Lope's  play  bears  only  a  remote  resemblance  to  the  47'''  tale  of 
the  Novell i?20  of  Masuccio  Salernitano.  »  M.  y  P.  v.  Krenkel,  III, 
p.  56.  Lope  took  the  argument  of  his  play  from  the  fourth  part 
of  the  Cronica  general. 

Alcalde  mayor  (El).  —  P^  ;  XIII.  (  «  Representola  Riquel- 
me  »)  ;  H.  IV,,  25  . 

*Alcazar  (El)  de  Consuegra.  —  P-.;  M. 

Aldeguela(El)  y  el  gran  Prior  de  Castilla.  — MS.  copy  (Osuna). 
«Traslad61a  Martin  Navarro.  En  Toledo  en  6  de  Mayo  de  1623.  » 
Cat.  B.  N.  No.  95.  Rocamora,  No.  231.  Printed  in  Escog.  Parte 
XLII.  (1676)  in  the  name  of  D.  Francisco  de  Villegas,  with  the 
title  El  Hijo  de  la  Molinera,  and  suelta,  as  Lope's,  under  the  title  : 
Mas  mal  hay  en  la  Aldegikla  de  lo  que  se  siiena  ;  Acad.  XII.  La 
Barrera,  Cat.  p.  435,  mentions  a  manuscript  copy  of  El  Aldc- 
guela,  formerly  in  the  Osuna  Library,  «  signed  by  the  copyist, 
Luis  C — ,  on  November  9,  1622.  (NnevaBiog.  p.  377.)  Restori, 
Ztft.  XXXI,  493,  prints  many  variant  readings  from  an  ancient 
suelta  at  Parma . 


138 


HUGO    A.    RENNERT 


Alexandre  el  scgundo,  Cesar  el  primer  Traidor.  —  MS.  Cat. 
B.  N.  No.  97.  This  is  an  autograph,  according  to  Duran, 
though  the  handwriting  differs  from  Lope's.  Only  the  marginal 
note  on  the  last  leaf  of  Act  I.  seems  undoubtedly  in  Lope's  hand. 
Duran  says  the  title  in  nowise  suits  the  play.    /t^<-W^-  /v.-//  ^' 

*Alexandro  (La  de).  —  P'.  This  may  be  the  preceding  piece. 

*Alfonso  el  afortunado.  —  P. 

Almenas(Las)  de  Toro.  —  XIV  ;  Acad.  VIII ;  S.  (Gayangos). 
MS.  Cat.  B.  N.  No.  104.  (Rocamora,  No.  232  :  «  Acts  I  and  II 
autograph)).)  «  Representola  Morales,  y  hizo  la  gallarda  lusepa 
Vaca  a  Dona  Elvira.  ))  Restori,  Ztft.  XXVI,  506. 

A  lo  que  obliga  el  ser  Rey.  Ascribed  to  Lope  in  the  fragment 
of  a  volume  of  collected  Comedias,  ff.  21-39  (J.  R.  C.)  •  [Stie- 
fel  (Ztft.  XKX,  p.  554)  fits  this  fragment  into  one  of  the  extra- 
vagantes,  perhaps  XXIX.]  The  play  is  by  Guevara,  Escog.  X.  It 
is  ascribed  to  him  in  the  Osuna  MS.  (Rocamora,  No.  233  ;  in 
the  Cat.  B.  N.  No.  7,  however,  this  Osuna  MS.  is  said  to  attri- 
bute the  play  erroneously  to  Calderon).  There  is  a  siielia'm  the 
Munich  Library.  «  Representola  Prado  ». 

Al  pasar  del  Arroyo.  —  P'.  ;  XII;  MS.  copy  (Holland  and 
Parma);  H.  I.,  387.  Chorley  attaches  the  date  January,  23,  1616 
to  the  Holland  MS.  The  comedia  must  have  been  written  shortly 
after  November  19,  161 5.  v.  Hartzenbusch,  Comedias  Escogidas 
de  Lope,  I,  p.  393.  For  the  closing  scenes,  cf.  La  Noche 
Toledana. 

Alvaro  de  Luna  (Don).  —  (See  El  Milagro  por  Jos  Celos.) 

Amante  (El)  agradecido.  — ■  X.  MS.  copy  (Parma).  «/^<**V«^-^ 

Amante  (El)  al  uso.  —  (See  La  ilustre  Fregona.) 

Amantes  (Los)  sin  Amor.  —  P. ;  P-.  ;  XIV.  This  comedia, 
Lope  tells  us,  was  represented  by  Pedro  de  Morales.  El  Peregrine, 
ed.  1604,  fol.  263  v°.  cf.  Cervantes's  novel  El  cnrioso  hnpcrli- 
nente.   iA^tJ»^-  ^  JjL.  ^<^. 

Amantes  y  Celosos  todos  son  Locos.  —  MS.  copy.  Cat.  B. 
N.  No.  120  :  (re-cast). 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  I  39 

Amar  como  se  ha  de  amar.  —  H.  ;  S.  (Osuna)  ;  MS.  copy 
(Osuna,  Parma).  Cat.  B.  N.  No.  121;  Rocamora,  No.  240. 
According  to  Fajardo  this  is  in  Parte  VI,  printed  at  Seville. 
«  Representola  Suare>:.  »  The  play  was  in  the  possession  of 
Andres  de  la  Vega  in  November,  1632.  Perez  Pastor,  Nnevos 
Datos,^.  226.  Mod.  Lang.  Rev.  (1^06),  103;  Salva,  I,  548,  pos- 
sessed a  fragment  paged  :  fols.  214-233.   t/^-AV-  /V.  /^ ,    ^ S^ > 

Amar  por  Burla.  —  H. ;  MS.  copy  (Osuna;  Parma) ;  Cat.  B.N. 
No.  123  ;  Rocamora,  No.  243.  This  is  certainly  not  Lope's 
Burlas  Veras,  to  judge  by  the  opening  and  closing  lines  of  the 
MS.      /f^<w-  /V.I,  (SZr 

Amar  por  ver  amar.  —  P\  ;  MS.  copy  (Holland  and  Chorley): 
both  copies  are  dated  1659;  XI. 

It  is  El  Perro  del  Hortelano,  entitled  La  Condesa  de  Beljior  in  a 
snelta. 

Amar,  Servir  y  Esperar.  —  XXII,  Madrid,  1635  ;  MS.  copy 
Cat.  B.  N.  No.  124.  That  it  was  written  for  Roque  de  Figueroa 
the  end  of  the  play  shows  :  «  Roque  os  ama,  Lope  os  sirue  » . 
This  would  incline  me  to  place  the  date  about  1625  or  there- 
after. There  is  a  record  of  its  representation  by  Juan  Martinez  on 
May  22,  1635.  Mod.  Lang. Rev.  (1907),  336.   ,yi^j9^ ~    ^jU,  ^^^ 

Amar  sin  saber  a  quien.  —  XXII,  Zaragoza,  1630;  and 
Madrid,  1635  :  H.  II,  443.  Don  Quixote  is  mentioned  on  fol. 
136''.  ed.  of  1630  :  ^^ 

Ines.  Don  Qiiixote  dela  Mancha, 
perdone  Dios  a  Cerbantes, 
fue  de  los  extravagantes 
que  la  Coronica  ensancha . 

According  to  Northup  (Calderon's  La  Selva  Coufiisa,  in 
Revue  Hisp..,  XXI,  p.  48.  Amar  sin  saber  a  quien  was  written 
between  1618  and  1623. 

*Amatilde(La).  —P. 

Amazonas  (Las).    —  P.    La  Barrera  says  it  is  probably   Las 


1 40  HUGO    A.    RENNERT 


Mugeres  sin  Hombres,  XVI.  A  MS.  Osuna,  in  the  Cat.  B.  N 
No.  128,  ascribes  the  play  to  Lope,  but  the  opening  Hne  shoNv 
that  the  MS.  in  question  is  the  conicdia  of  the  same  title  b 
Solis,  which  has  likewise  been  printed  anonymously,  with  tb 
title  Las  Aiiiaionas  dc  Escitia.  This  play  has  also  been  attribute 
to  Calderon,  though  in  the  Verdadera  Oninta  Parte  de  Comedic 
dc  D.  Pedro  Calderon,  Madrid,  1694,  the  editor  mentions  Lc 
Ania:^onas  as  one  of  the  comedias  which  Calderon  did  not  writ( 
and  he  says,  moreover,  that  it  was  written  by  Solis  con  iantos  ac'm 
tos  como  las  demas.  See  the  Advertencia  to  this  volume .  But  wh 
the  author  of  the  Briichsiiick  that  was  translated  by  Schlege 
under  the  title  Die  Ania~onen,  may  be,  I  do  not  know.  Perhaj 
it  was  August  Wilhelm  v.  Schlegel.  In  his  Parte  cuarta,  Madric 
i635,Tirso  de  Molina  has  a  comedia,  Las  Ama:(onas  en  las  Indie 
(the  Second  Part  of  Las  Haxahas  de  los  Pi:^arros,  now  printed  i 
Cotarelo,  Comedias  de  Tirso  de  Molina,  Vol.  I.  Madrid,  1907,  ' 
Ibid.  Vol.  II,  p.  iii. 

Amigo  (El)  hasta  la  Muerte.  —  P-. ;  XI;  H.  IV.,  323.  Thei 
is  a  MS.  (Osuna)  in  the  Bib.  Nac.  Cat.  No.  132,  called  El  Amii 
hasta  la  Muerte,  ascribed  to  Lope  de  Vega,  but  both  the  open  in 
and  closing  lines  there  given  are  entirely  different  from  the  co 
responding  lines  in  Lope's  comedia,  and  I  doubt  whether  it  1; 
his.  Moreover,  no  character  in  Lope's  play  begins  w^ith  th 
letters  An.  I  presume  that  it  is  this  same  MS.  which  is  registere 
by  Rocamora  as  No.  248.  Restori  states  that  there  is  a  MS.  cop 
of  Lope's  play  at  Parma.  Lope  announces  at  the  end  of  his  conn 
dia  that  it  is  the  First  Part. 

Amigo  (El)  porFuerza.  —  P. ;  P^  ;  IV.  S.(Brit.  Mus.;  J.  R.  C 
Gayangos;  London  Library).  Tliis-play  has  no  Ji^uiuiuid-JauAyi: 

Amigos  (Los)enoiados,  y  verdadera  Amistad.  Printed  in  Se 
Comedias  de  Lope  de  Vega  Carpio  y  otros,  etc.,  Lisboa  or  Sevilli 
1603,   according   to  Schack  {Nachtrdge,   p.   40),    but  no  sue 

hffl^-j^  kfiow-tt:;  at  all  events  the  Lisbon  volume  of  1603  do( 
not  contain  this  play.  In  his  Catdlogo,  p.   679,  La  Barrera  sa) 

vJe^f7.     [^^^j^^^  -fU.Vo^. 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  I.|I 

that  this  coinedia  is  not  Lope's,  and  remarks  that  it  does  not 
appear  in  the  Peregrino  lists.  Chorley,  however,  observes  that 
this  objection  is  not  to  the  point,  and  refers  to  his  note  on 
p.  112.  ^/t-ts^^  A/JTI,  2.ef. 

Amistad  (La)  pagada.  — ■?-.;!;  Acad.  VIL  MS.  copy  Cat. 
B.  N.  No.  2200.  It  bears  the  additional  title  :  La  fainosa  Mon- 
tahesa.  In  Chorley 's  opinion  La  Amistad  pagada  is  one  of  Lope's 
early  pieces.  See  Life  of  Lope,   p.    157,  n.  Restori,  Ztft.  XXVI, 

486.  ^^^^u.^ 

Amistad  (La)  y  Obligacion.  —  XXII,  Zaragoza,  1630;  S.  A^^jVfcsi^^^^ 
(J.  R.  C.  and  Gayangos);  MS.  copy  Cat.  B.  N.  No.  140.  Duran  '^'^'^^'^^ 
and  Mes.  Rom.  assert  that  this  is  (with  some  variations)  the  "^ — ^^-^  •  ^  ,,-li 
same  play  as  Montalvan's  Lncha  de  Amor  y  Amistad,  but  Chor-  ^.  ^- /Ahr^- 

ley  notes  that  Montalvan's  is  an  ohra  divina.  He  is  mistaken, 
however.  The  two  works  are  identical,  except  that  the  first, 
twenty-nine  lines  of  Lope's  comedia  are  omitted  in  Lucha  dc 
Amor  y  Amistad.  The  cnmedia  is  undoubtedly  Lope's,  v.  Mod. 
Lang.  Rev.  (1906),  p.  96.   J-^JS^^  /\/M^,OZ<i. 

Amor  Bandolero  (El).  —  XXIV,  Zaragoza,  1633;  MS.  copy 
(Duran),  Cat.  B.  N.  No.  145,  with  a.  cens7tra  dated  at  Cordoba, 
September  18,  1645.   y^-^av^   /^JJj((  ^f/ 

Amor  con  Vista.  — -M. ;  Com.  ined.  Madrid,  1873.  MS.  autog. 
(Osuna),  Cat.  B.  N.  No.  149,  signed  by  Lope  at  Madrid, 
December,  10,  1626,  with  licenses  to  represent,  dated  Zaragoza, 
February  13,  1627;  Madrid,  December  11,  1627,  (perhaps 
this  should  be  1626)  and  Lisboa,  December  12  and  14,  1630. 
Copy  (Parma).  «  Representola  Antonio  de  Prado  ». 

Amor  (El)  constante.  —  P.  La  Barrera  questions  whether  this 
may  not  be  the  play  of  the  same  name  by  Guillen  dc  Castro, 
published  in  Doce  Comedias  famosas,  Valencia,  1608.  Mesonero 
Romanes  suggests  that  the  title  should  be  El  verdadero  Amor. 
[Lope  states  in  P.  that  he  wrote  a  play  entitled  El  Amor  con- 
stante :  this  no  longer  exists.  Guillen  de  Castro  wroteaplay  bear- 
ing the  same  title;  this  play  is  still  extant.] 

*Amor  (El)  desatinado.  —  P. 


142  HUGO    A.    RENNERT 


Amor  (HI)  enamorado.  —  Fega  del  F. ;  Obr.  siiell.  X.;  Escog. 
XXXI.,  as  of  Juan  de  Zavaleta.  Acad.  VI.  In  his  Catalogue,  La 
Barrera  also  gives  this  play  with  the  additional  title  Jupiter  y 
Dafne,  and  attributes  it  to  Lope.  Chorley  conjectures  that  the 
title  should  be  Feho  y  Dafne.  Menendez  y  Pelayo  says  this,  to 
judge  by  its  style,  must  be  one  of  the  last  plays  of  Lope.  Acade- 
niin,  VI,  p.  Ixxvi  ;  v.  Ztft.  XXIII,  449. 

Amor  (El)  Invencionero.  —  Fajardo.  Apparently  an  error,  for 
this  is  the  alternative  title  of  La  EspahoJa  de  Florciicia,  which  is 
not  by  Lope,  though  Stiefel  ascribes  it  to  Lope  in  the  Zeitschrift 
(1912). 

The  latest  editor  of  L^7  Espahola,  Rosenberg  (Philada.,  1912) 
attributes  the  play  to  Calderon.  See  Burlas  de  Amor. 

Amor,  Pleito  y  Desafio.  MS.  autog.  Cat.  B.  N.  No.  171,  dated 
Madrid,  November  23,  1621,  with  a  ccnsiira  of  Vargas  Machuca, 
Jan.  14,  1622.  (It  was  first  represented  by  the  companj^  of  Pedro 
de  Valdes;  Jeroninia  de  Burgos  taking  the  part  of  the  servant 
Lconor  and  Valdes  the  part  of  the  servant  Sancho.^  The  play  bear- 
ing this  title  in  Partes  XXII  and  XXIV  (Qaragoca,  1633)  of 
Lope  is  Alarcon's  Ganar  Ainigos.  Printed  in  Comedias  ined. 
1873.  See  Life  of  Lope,  p.  294. 

Amor  secreto  hasta  Zelos.  —  P^.  ;  XIX  ;  MS.  copy  (Parma), 
and  Cat.  B.  N.  No.  174,  a  re-cast  by  D.  Dionisio  Solis.  k^^-^&l^^A 

*Amor  Soldado  (El).  —  P  ;  P^  ^ 

Amores  de  Carlos.  —  (See  Los  PaJacios  de  Galiana.) 

*Amores  (Los)  de  Narciso.  —  P.  Menendez  y  Pelayo  conjec- 
tures that  some  reminiscence  of  this  play  may  be  left  in  Calderon's 
Eco  y  Narciso. 

Angelica  en  el  Catay.  —  P.  ;  VIII.  MS.  copy  (Parma).  This 
play  has  no  figiira  del  donayrc.  «  This  comcdia  is  one  of  the  very 
early  ones  of  Lope,  of  the  time  of  Belardo  and  Lucinda...  It  has 
nothing  to  do  with  his  poem  La  Hennosura  de  Angelica.  » 
Academy,  XIII,  p.  cxxi. 

Animal  (El)  de  Ungria.  —  P^;  IX.  S.  (Brit.  Mus. ;  J.  R.  C; 
Gayangos  •  H.  A.  K.)  .y^^^-  ^' dC^  ^f  ^  ■ 


BIBLIOGRAPHY    01-    LOPE    DE    VEGA  14:5 

Animal  (El)  Profeta,  San  Julian.  —  H.;  S.  (Brit.  Mus.  and 
Holland),  where  it  is  also  called  ;  y  dichoso  Patricida  ;  MS. 
(Osuna),  dated  163 1,  Cat.  B.  N.  No.  211.  There  were  two 
Osuna  MSS.  according  to  Rocamora,  No.  271,  and  in  both, 
according  to  him,  the  play  is  ascribed  to  Mescua.  I  have  an 
ancient  i'/zcZ/rt  which  attributes  this  play  to  Lope.  See  Schack,  III, 
p.  553,  and  Nachtrdge,  p.  57  ;  Acad.  IV.  «  In  my  opinion  », 
says  Menendez  y  Pelayo,  «  the  play  is  Lope's,  which  does  not  pre- 
clude the  belief  that  it  may  have  been  re-cast  later  by  Mira  de 
Mescua  or  some  other  )).  Fajardo  alleges  that  this  play  was  in 
Parte  V.,  published  at  Seville,  v.  Ztft.  XXII,  276. 

Antecristo  (El).  —  M.;H. ;  MS.  copy  of  the  beginning  of  the 
XVII  century  (Parma)  ;  Acad.  Ill  ;  entirely  different  from  the 
Antecristo  of  Alarcon.  Schach,  II.  703.  v.  Restori,  p.  18,  and  also 
in  Ztft.  XXII,  123. 

Antonio  Roca.  —  P.  (La  Muerte  mas  venturosa)  ;  H.  ;  MS. 
[copy  ?J  (Holland)  and  copy  (Osuna),  Cat.  B.  N.  No.  220,  where 
it  is  said  that  the  4'''  {sic^  act  is  in  the  hand  of  Lanini 
Sagredo.     v'^-f  f:^-^     i^\  S.  (^f- 

Anzuelo  (El)  de  Fenisa.  —  P^;  VIII;  H.,  III.,  363.  MS.  copy 
(Parma).  This  coinedia  is  founded  on  Boccaccio's  Decameron, 
VIII,  10. 

Arauco  domado.  —  P-. ;  XX;  Acad.  XII.  c<  This  coinedia  must 
have  been  written  shortly  before  1625.  »  M.  y  P.  There  is  a 
sueltamxhe.  Brit.  Mus.  but  it  is  a  fragment  ofXX(ff.  77-101). 
Ztft.  XXXI,  500. 

Arcadia  (La).  —  P^  ;  XIII ;  H.  III.,  155;  Acad.  V. ;  S.  (J.  R.  C.) 
This  play  has  no  true  figiira  del  donayre  :  for,  though  Bato  is  a 
simple  and  Cardenio  a  ri'istico,  neither  is  a  gracioso.  Chorley 
thinks  that  La  Arcadia,  though  (in  its  present  form)  it  is  much 
later  than  La  Francesilla,  was  among  the  earlier  pieces  of  the 
author,  who  re-touched  it  before  publication  in  1620.  Crawford 
Mod.  Lang.  Rev.  Vol.  Ill,  says  it  was  probably  written  in  161 5. 
«  Representola  Riquelme.  » 


14^  HUGO    A.    RENNERT 


*Arellanos  (Los).  —  P^ 

Arenal  (El)  de  Sevilla.  —  XI  ;  H.  III.,  527  ;  MS.  copy 
(Parma).  This  play  has  no  figura  del  donayre.  Chorley  points 
out  that  the  piece  dates  after  January  1601,  for  in  Lucinda's 
speech  (Act  in.)  there  is  a  reference  to  the  removal  of  the  Court 
to  X'alladolid. 

Argel  (El)  fingido  y  Renegado  de  Amor.  —  P  ;  VIII.  MS. 
copy  (Parma)  and  Brit.  Mus.  (undated  and  incomplete).  Chor- 
ley believes  that  this  play  was  written  soon  after  Philip  Ill's 
marriage  at  Valencia  (April,  1599).  We  have  seen  {Life  of  Lope, 
p.  i-|i)  that  Lope  visited  Valencia  on  this  occasion.  «  Represen- 
tola  Vergara.  »    J^--^^  M  Mi  ^6  f 

Argolan,  Rey  de  Alcala,  is  El  Padrino  desposado,  II. ;  P.  ;  H. ; 
M. 

Arminda  celosa.  —  P'.  ;  H.  ;  MS.  copy  (Duran),  Cat.  B.  N. 
No.  252.  According  to  Duran  the  author  is  Lope,  and  this  MS. 
is  copied  from  what  La  Barrera  describes  as  the  autograph  of 
1622.  See  Life  of  Lope,  p.  304.  11.  i.  The  play  has  been  attribut- 
ed to  Mescua.  In  the  Cat.  B.  N.  we  read  :  v  comedia  by  the 
CabalJeroLisardo,  the  action  of  which  passes  in  Madrid  in  1622.)) 
Lisardo  was  the  poetical  name  of  Lope's  friend  Luis  de  Vargas 
Manrique,  brother  of  the  Condesa  de  Siruela,  Da.  Isabel  Man- 
rique  de  Vargas,  and  was  well  known  as  a  writer  of  plays  in 
Madrid  about  1585.  v.  La  adversa  Fort  una  de  D.  Bernardo  de 
Cabrera.    X*aw.  /V,  ^  j;   ^  f  J, 

Arrogante  (El)  Espaiiol.  —  See  El  Caballero  del  Milagro. 

Asalto  (El)  de  Mastrique  por  el  Principe  de  Parma.  — P^;IV; 
Acad.  XII.  V.  Ztfl.  XXXI,  499. 

Ascendenciade  los  Maestresde  Santiago  yCalatrava.  —  Fajardo. 
(See  El  Sol  par  ado.) 

Asturianas  (Las).  — P-.  (Las  famosas  Asturianas.)  M.  ;  H. ; 
XVIII. 

*Atalanta  (La).  —  P^  H.;  M.  «  La  Atalanta,  ch'io  sospetto 
non  esser  altro  che  Y Adonis  y  Venus.  »  Rcstori,  Z///,  XXIII,  451. 


BIBLIOGRAPHY    OV    LOPE    DE    VEGA  1 45 

'he  title  Adonis  y  Feints  is  in  the  Hst  of  1604.  There  is  an  autog. 
[S.  comedia,  La  Atalanta  in  the  Bib.  Nac.  Cat.  No.  271,  signed 
Y  Caspar  Ovando,  October  15,   1615. 

Atrevimiento  y  Ventura.  —  Lope  ?  Represented  at  Court  on 
muary  6,  1623,  by  Antonio  de  Prado.  The  play  was  in  the 
ossession  of  the  aiitor  de  comedias  Juan  Jeronimo  Aimella  in 
628.  Bull.  Hisp.,  VIII,  376. 

Audiencias  del  Rey  don  Pedro.  — H.  (anon.).  Acad.  IX; MS. 
Dpy  (Osuna)  of  the  xvii  century  with  many  corrections,  Cat. 
.  N.  No.  278  (anon.);  Attributed  to  Lope  by  Schack  and 
lenendezy  Pelayo.  Rocamora,  No.  279.  «  Lope  must  have  \vrit- 
;n  this  comedia  in  Seville.  »  M.  y  P. 

Auenturas  de  don  Juan  de  Alarcos.  —  XXV.  This  is  the 
econd  Part  of  D.  Juan  de  Castro  slightly  altered  at  the  end. 

Ausente  (El)  en  el  Lugar.  — P^  ;  IX  ;  H.  I.,  249.  MS.  copy 
Parma). 

i  Ay  Verdades  !  que  en  Amor...  —  MS.  aut.  Brit.  Mus.  dated 
lovember  12,  1625,  with  a  license  at  Madrid,  February  4,  1626. 
copied  this  MS.  man}'  years  ago:  the  variations  of  the  printed 
lay  are  exceedingly  few.  It  is  also  printed  in  Dif.  XXIX. 
'^alencia,  1636.    /-f-c^^tV^  /V^  JH ,  To 2., 

B 

Baldovinos  y  Carloto.  —  See  El  Marques  de  Mantua.  ^<vvi  J^  <^  .^  <^ 
Barbara  (La)  del  Cielo.  —  P.  ;  M.  ;  H  (anon.).  Perhaps  it  is  ^^a^ y^,^^  fj 
M  Santa  Barbara,  attributed  a?  a  suella  (Brit.  Mus.,  and  J.  R.  C.) 
o  Cuillen  de  Castro.  See  also  Aulos  sacraiiieiitaks,  con  quatro 
Zomedias  nnevas,tic.,  Madrid,  1655  (Barr.,  p.  709),  where  the 
)lay  is  entitled  El  Prodigio  de  los  Montes,  y  Martir  del  Cielo. 
vienendez  y  Pelayo  says  :  ^c  The  play  which  is  current  as  asuelta 
mder  the  name  of  Guillen  de  Castro,  entitled  :  El  Prodigio  de 
OS  Montes,  y  Martir  del  Cielo,  Santa  Barbara,  does  not  seem  wor- 
hy,  from  its  style,  of  either  Lope  or  Guillen  de  Castro. »  Acad. 

REVUE    HISPANIQUE.    G.  lO 


146  HUGO    A.    RENNERT 


y.  p.  Ivi.  Restori  thinks  there  may  be  some  trace  of  Lope' 
Barbara  del  Ciclo  in  Arboreda's  Arco  de  Pa:;^  del  Cielo  or  in  the  Pro 
digio  de  los  Mantes  just  cited.  Ztft.  XXII,  p.  294. 

*Barbaro  (El)  gallardo.  —  P. 

Barlan  y  Josafa  (Los  dos  Soldados  de   Cristo).  —  P-.  ;  MS 
aut.,  Holland,  dated  February  i,  161 1;  MS.  copy(Osuna);  Cat 
B.  N.  No.  336;  Rocamora,  No.   319:  XXIV,  Zaragoza,  1641 
Acad.  IV.  This  is  the  First  Part.  S.  (J.  R.  C.) 

*Basilea  (La).  —  P. 

Bastardo  (El)  Mudarra.  —  XXIV,  Zaragoza,  1641 ;  P'.;  (Lo; 
siete  Infantes  de  Lara,  and  this  is  repeated  in  the  Aprobdciones  o 
the  autograph);  MS.  aut.  formerly  in  possession  of  Sr.  Olozaga 
dated  April  27,  16 12.  I  have  a  fac-simile  reproduction,  Madrid 
1864:  Acad.  VII.  Although  written  in  16 12,  it  has  no  gracioso 
V.  Restori,  Ztft.,  XXVI,  ^2- 

Batalla  (La)  de  dos.  — M. ;  H.  ;  very  doubtful.  Fajardo  gives  i 
as  anonymous.  There  is  a  MS.  copy  of  La  Batalla  de  los  dos  6  Sa? 
Luis  Bertran,  by  don  Francisco  de  la  Torre  y  Sevil,  in  the  Cat 
B.  N.  No.  346. 

Batalla  (La)  del  Honor.  —  V\  ;  VI  ;  MS.   autog.  (Olozaga) 

^0^    dated  April  18,  1608  ;  Escog.  XV.,  where  it  is  ascribed  to  Fer 

nando  de  Zarate  ;  it  is  attributed  to  Lope  in  Conicdias  de  los  riiejo 

res  y  mas  insignes  Ingenios  de  Espaha,  Lisboa,  1652.  (La  Barrera, 

Caidlogo,  p.  708.)  J-^^eu/^  /V.  M,  5'?<f, 

Batalla  (La)  Naval.  —  P  ;  (SeeLa  Santa  Liga.) 

Batuecas  (Las)  del  Duque  de  Alba.  —  P-.  ;  XXIII,  «  en  lengur 
antigua  »  ;  Acad.  XL  MS.  copy  Cat.  B.  N.  No.  351. 

Matos Fragoso's  £■/  Niicvo  Miindo  en  Castilla,  Escog.  XXXVII. , 
is  a  re-cast  of  this  play;  there  is  a  Holland  MS.  entitled  El  so, 
en  el  Nuevo  Mundo,  by  Juan  Claudio  de  la  Hoz  y  Mota  and  Lopt 
de  Vega.  This  alleged  collaboration  is  incredible,  as  Hoz  waj 
probably  not  born  earlier  than  the  third  decade  of  the  xvii  cen- 
tury and  died  shortly  before  December  12,  1714.  It  is  merel;y 
are-cast  of  Lope's  Las  Batuecas,  v.  p.  469,  and  Restori,  Ztft.. 
XXX,  234. 


BIBLIOGRAPHY    OF    LOPE    Dl-    VEGA  1^7 

Bautismo  (El)  del  Principe  de  Marruecos. —  (See  La  Tragedia 
del  Rey  don  Sebastian^. 

Belardo  el  Furioso.  — P.;  MS.  copy  (date?)  :  Acad.  V.  «Thc 
composition  of  this  comedia  must  date  back  to  the  early  years 
of  Lope's  youth...  and  the  plot  of  the  first  Act,  though  with 
slight  variations  and  with  changed   names,  agrees  with  that   of 

the  Dorotea and  confirms    the  identity    of  its    protagonist, 

D.  Fernando  with  Lope,  who  appears  upon  the  scene  under  his 
well-known  pseudonym  Belardo.  »  M.  y  P.,  Ibid.,  Ixii. 

Bella  (La)  AndromWa.  —  S.  (J.  R.  C. ;  Holland,  and  Vienna); 
(See  El  Perseo  ;  La  Fabiila  de  Perseo).  Ztft.,  XXIII,  443. 
Bella  (La)  Aurora.  —  XXI;  Acad.  VI;  Ztft.,  XXIII,  449. 
*Bella  (La)  Gitana.  —  P. 

Bella  (La)  mal  maridada.  —  P. ;  II;  MS.  Cat.  B.  N.  No.  357  ; 
it  is  a  re-cast  of  the  play  with  the  added  title:  La  Escnela  de 
Casadas.  Of  the  original  Lope  says  :  «  La  hizo  Rios  Mar  de 
donayre  y  natural  gracia.  »  El  Peregrino,  fol.  263. 

In  later  impressions  of  Parte  IL,  Chorley  notes  that  there  is 
a  curious  omission  in  the  Third  Act.  In  the  Third  Scene  between 
Lisbella  and  the  bawd  Marcela,  after  the  verse  —  Fete  y  bolveras 
despues  — the  rest  of  the  passage  is  missing.  Again  something  is 
omitted  when  Leonardo  surprises  his  wife  with  the  Count's 
letter  in  his  sleeve;  and  there  is  also  wanting  the  beginning 
(at  least)  of  the  scene  of  which  the  verse  —  A I  fin  qiialqniera  me 
agrada  — forms  part.  rA-tj^W  ^  /^iHt  €(Z 

Benavides  (Los).  —  P.  ;  II  ;  Acad.  VII.  v.  Ztjt.,  XXVI, 
p.  504. 

Bernardo  del  Carpio,  Segunda  Parle.  —  «  Reprcsentola  Aven- 
daiio.  »  S.  (J.  R.  C),  a  very  rare  copy,  perhaps  unique.  This 
diifers  completely  from  Lope's  other  two  plays  on  the  same 
hero  :  Las  Mocedades  de  Bernardo  del  Carpio  and  El  Casaniiento  en 
la  Mnerte.  Judging  from  internal  evidence,  Chorley  suspects 
this  play  to  be  a  re-cast  by  some  alitor  de  comedias  of  two  pieces 
by  Lope  which  are  now  unknown.   In  its  present  form  Chorley 


148  HUGO    A.    RENXERT 


cannot  accept  the  \vhole  play  as  authentic,  but  some  passages 
may  (he  thinks)  be  by  Lope.  In  a  copy  of  Chorley's  Catalogue 
which  he  gave  to  Ticknor,  is  the  following  note  in  Chorley's 
hand  :  «  Bernardo  del  Carpio.  Segiinda  Parte.  It  is  undoubtedly 
Lope's,  and  what  makes  it  more  precious  is  that  it  completes 
the  trilogy  (imperfect  up  to  this  time)  in  the  life  of  the  hero. 
The  three  parts  are  :  I.  Mocedades  de  Bernardo.  II.  Bernardo  del 
Carpio.  Segunda  Parte.  III.  El  Casamiento  en  la  Muerte.  »  v. 
Restori,  Ztfl.,  XXVI,  492.   J-^jkV  M M,  €<r/, 

*Biedmas  (Los).  —  P. 

Bienaventurada  (La)  Madre  Santa  Teresa  dc  Jesus.  —  v.  La 
Madre  Teresa  de  Jesus. 

Bizarrias  (Las)  de  Belisa.  Fega  del  P.  ;  MS.  autog.  Brit.  Mus. 
dated  May  24,  1634.  According  to  Fajardo  it  is  in  Parte  V.  of 
Lope,  Sevilla  ;  Obr.  siielt.,  IX.;  H.  II.,  557.  S.  (Brit.  Mus.;  J. 
R.  C.;H.  A.  R.). 

Las  Vicarrias  de  Velisa  was  represented  by  Andres  de  la  Vega 
on  May  11,  1634  {sic^,  according  to  El  Averigiiador,  I.  This,  of 
course,  is  a  mistake,  as  the  play  was  not  finished  at  that  date.  The 
money  (800  reals)  was  received  by  Andres  de  la  Vega  on  Octo- 
ber 29,  1635,  for  four  particnlares  given  before  the  king  in 
April  and  May,  not  of  1634,  but,  in  all  probability  in  1635, 
as  Philip  IV,  seems  to  have  paid  promptly  for  his  plays.  Mod.  Lang. 
Rev.,  Ill,  p.  55. 

Blason  (El)  de  los  Chaves  de  Villalba.  —  H.  ;  Acad.  XL  MS. 
copy  (Rubi),  dated  August  20,  1599.  Cat.  B.  N.  No.  371.  (See 
Los  Chaves  de  Villalba^. 

Boba  (La)  discrcta.  — S.  (J.  R.  C.  and  Duran).  (See  La  Dama 
boba.) 

Boba  (La)  para  los  otros  y  discreta  para  si. —  XXI;  S.  (Brit. 
Mus. ;  J.  R.  C,  and  Gayangos) ;  H.  II.,  523.  MS.  copy  (Osuna), 
Cat.  B.  N.  No.  375  ;  Rocamora,  No.'  333.  One  of  Lope's  best 
plays,  it  was  represented  by  Manuel  Vallejo  in  the  Pardo  on 
January  25,    1635.  According  to  Duran,   this  comedia  has  been 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  1 49 

ascribed  to  Rojas  Zorrilla.  The  MS.  noted  in  Cat.  B.  N.  No.  374, 
is  a  re-cast  of  Lope's  pla3\ 

Bobo  (El)  del  Colegio.  —  P\  ;  XIV;  H.  I.,  179.  «  Represen- 
tola  Tom  as  Fernandez.  » 

Boda  (La)  entre  dos  Maridos.  —  P-.  ;IV.  It  is  founded  on 
Boccaccio's  Decamerone,  X,  8. 

Bohemia  (La)  convertida.  —  (See  El  Hijo  piadoso.) 

*Bosque  (El)  amoroso.  —  P.  Cervantes  wrote  a  play  of  the 
same  title  which  is  also  unknown. 

Brasil  (El)  restituido.  —  MS.  copy  Cat.  B.  N.  No.  407.  The 
original  autograph,  dated  October  23, 1625,  formerly  in  the  Lenox 
Library,  is  now  in  the  Public  Library,  New  York.  See  my 
article  in  the  Mod.  Lang.  Rev.  (1906),  p.  109,  where  the  orig- 
inal cast  is  given.  The  comedia  was  represented  by  Andres  de 
la  Vega,  November  6,  1625.  Mod.  Lang.  Rev.  (1907),  334.  v. 
Ztft.,XXXl,  501. 

*Brauo  (El)  don  Manuel.  —  P-. 

*Brauo  (El)  don  Manuel.  —  Segunda  Parte.  —  P-. 

*Buen  (El)  Agradecimiento.  —  P. 

Buen  (El)  Vecino.  —  H.  ;  MS.  copy  Cat.  B.  N.  No.  420 ; 
Tomo  132  (Osuna)  :  Dif.  XXXIII.  (J.  R.  C.  Fragment  of  Dif. 
XXXIII,  Valencia,  1642;  if.  204-21.) 

Buena  (La)  Guarda.  —  (Entitled  in  the  closing  verses  La 
Encomienda  bien  guar  dado)  \  P-.;  MS.  autog.  dated  April  16,  1610, 
in  possession  of  the  Marquis  Pidal.  XV;  H.  III.,  325  ;  Acad. 
V.  «  Representola  Riquelme  ».  v.  Ztft.,  XXII,  281.  _ 

Burgalesa  (La)  de  Lerma.  —  P-.[7  MS.  copy  (Osuna),  dated        ' 
November  30,  1613.  See  Cat.    B.  N.   No.  422;  Rocamora,  No. 
344.  There  is  also  a  MS.  copy  at  Parma. 

Burla  (La)  Vengada.  —  (See.  La  Nina  de  Plata.) 

Burlas  de  Amor.  —  P.  Three  different  plays  are  quoted  with 
this  title  :     /fccW^  /V^  ■J',  3f- 

I.)  Burlas  veras.  —  M. ;  H. ;  S.  (J.  R.  C. ;  Duran;  Salva,  and 
Holland).  This  |  is  unquestionably  by  Lope.  See  the  edition  by 


150  HUGO    A.    RENNERT 


S.  L.  M.    Rosenberg,   Philadelphia,    19 12;    Salva,   Cdldlogo,   I, 

575- 

2.)  Riirlas  y  Eurcdos  de  Benito.  GL.  Madrid,  1 617.  It  is  anon}'- 

mous  in  GL.  (i6i7)and  also  in  the  Cordoba  edition  of  1613. 
La  Barrera  states  that  it  is  not  by  Lope.  On  the  other  hand, 
Chorley  savs  he  thinks  it  possible  that  Lope  is  the  author,  though 
he  would  not  venture  to  affirm  it  positively.  The  play,  which 
has  no  figiira  del  donayre,  is  in  Lope's  first  manner,  and  it  is  not 
unworthy  of  him.  There  is  a  MS.  (Osuna)  of  this  coniedia  in 
the  Bib.  Nac.  Cat.  No.  434,  in  which,  however,  it  bears  the 
slightly  altered  title  :  Las  Bttrlas  de  Benitico.  Of  this  MS.  Sr. 
Paz  says  :  «  En  las  guardas  hay  varios  recibos  de  alquileres  de 
vestidos  para  el  dia  del  Corpus,  Magdalena,  etc . ,  tornados  a  Luis 
de  Benavides  en  1586  por  diferentes  vecinos  de  las  villas  de  Pes- 
qucra,  Montemayor,  etc.  ».  On  the  fly-leaf  of  the  MS.  conie- 
dia. El  Tirano  Corbanto  (Cat.  B.  N.  No.  3255)  Schack  {Nach- 
trdge,  22)  found  the  following  note :  «  Perdone  Vm.  senor  vena- 
vides  por  la  tardanca,  que  no  emos  podido  mas :  aqui  llevan  esta 
comedia  del  Rey  corvanto  y  la  otra  del  Gigante  Goliat,  y  aca 
qucda  la  comedia  de  leandro.  Procurarse  (5/f)  a  enviar  antes  de 
pasqua  con  el  primer  mensajero  que  ubiere,  que  por  no  estar 
sacado  mas  de  la  media  no  se  envia.  Ella  estara  alia  a  mas  tardar 
El  Viernes  u  el  sabado.  De  peiiafiel  a  quatro  de  mayo  de  1585 
aiios .  »  Likewise  at  the  end  of  the  MS .  of  El  cerco  y  libertad  de 
sehilla,  etc.  (Cat.  B.  N.  No.  585),  we  read  :  «A  gloria  de  dios 
se  represento  en  Balladolid  por  Villegas  autor  de  comcdias  aiio 
de  1595  •  Es  de  Luis  de  Venabides  cste  original  »  (Schack,  ihid.^. 
Sr.  Pax  queries  whether  Benavides  may  be  the  author  of  Las 
Burlas  de  Benitico,  but,  from  the  above  it  follows  that  Benavides 
was  merely  the  owner  of  these  plays  ;  in  all  probability  he  was  a 
sort  of  theatrical  broker — one  who  furnished  costumes  and  plays 
for  festivals.  Los  Enredos  de  Benitillo,  doubtless  the  same  play, 
was  represented  at  Nava  del  Carnero  on  August  8,  1593  by 
Gabriel  Nunez,  autor  de  coniedias.  Perez  Pastor.  Nnevos  Datos, 


BIBLIOGRAPHY    Ol-    LOPE    DE    VEGA  I  5  I 

37.  If  this  be  Lope's  comcdia,  then  it    bears  the  eadiest    date   of 
any  of  his  plays  that  have  been  preserved. 

3.)  Biirlas  veras  o  El  Amor  invencionero y  Espaholade  Florencia. 
—  Fajardo.  This  comedia  is  ascribed  to  Caideron  in  Escog.  XII, 
and  in  a  sudta  (J.  R.  C).  Restori  {Studj  di  FiloJogia  roinan~a, 
fasc.  XV  (1891),  p.  132),  describes  a  snclfa  :  Sevilla,  Viuda  de 
Fr'°.  Leefdael,  in  which  it  is  also  attributed  (erroneamente,  he 
says)  to  Caideron.  With  the  title  o(  Espahola  de  Florencia  Vera 
Tassis  cites  it  among  the  apocryphal  plays  that  pass  under  Cal- 
deron's  name.  A  passage  in  Lucrecia's  speech  (Act  I)  contains  an 
allusion  which  seems  sufficient  to  prove  that  Lope  cannot  have 
written  this  comedia  : 

Huyo  de  todo  extreme  como  vicio, 
Entre  Goiigora  y  Lope,  decir  puedo, 
ni  mui  facilidad,  ni  mui  enredo. 

See  Schack,  Geschichte,  III,  280,  who  thinks  it  may  be  Calde- 
ron's .  This  play  has  also  been  published  by  Rosenberg  (Phila- 
delphia, 191 1),  who  ascribes  it  to  Caideron.  On  La  Espahola  de 
Florencia  see  Stiefel  in  Zlft.  XXXVI,  437,  who  has  collected  a 
mass  of  data  to  show  the  probable  authorship  of  Lope  de  Vega, 
rheir  cumulative  effect  is  very  strong  and  he  has  made  out  a 
vQxy  good  case.  Certainly  he  has  greatly  shaken  the  ascription  to 
[Caideron.  See  also  an  article  by  the  same  scholar  in  Bausteine. 
^om.  Pbilologie,  Halle,  1905,  p.  337. 

There  is  also  a  fourth  comedia,  by  Julian  de  Armendariz, 
mtitled  Las  Burlas  veras,  preserved  in  an  autograph  manuscript 
n  the  Bib.  Palatina  at  Parma,  v.  Restori.  Loc.  cit.,  p.  17  ;  and 
Jlosenberg's  ed.  of  Lope's  Burlas  veras. 


Caballero  (El)  de  Cristo.  —  A  comedia  in  possession  of  the 
lutor  de  ^o;«(jflf/^5  Juan  Jeronimo  Almella  in  1628.  Bull.  Hisp., 
VII,  376  and  foil.  Very  doubtful. 


152  HUGO   A.    RENNERT 


Caballero  (El)  de  Illescas.  —  P.  ;  P*.  ;  XIV.  This  play  has  no 
figiira  del  donayre.  «  Representola  el  famosoRios.  »  Nicolas  de  los 
Rios  also  represented  this  play  in  Valladolid  in  1605.  Cortes, 
Una  Carte  Uteraria,  p.  34;  Pinheiro  da  Veiga,  p.  112. 

Caballero  (El)  del  Milagro.  (In  the  closing  verses  it  is  called  : 
El  arrogante  Espafiol.)  —  P.  ;  XV.  <<  Representola  Vergara.  » 

*Caballero  (El)  mudo.  —  P.  There  is  a  snelta  of  the  same 
title  attributed  to  Guillen  de  Castro. 

Caballero  (El)  de  Olmedo.  —  XXIV,  Zaragoza,  1641  ;  S. 
(Gayangos)  ;  H.  II.,  367;  Acad.  X.  See  Life  of  Lope,  p.  165,  n; 
the  MS.  (Osuna),  Cat.  B.  N.  No.  444,  entitled  El  Caballero  de 
Olmedo,  0  La  Vinda  por  casar,  dated  1606,  is  not  by  Lope, 
though  it  is  ascribed  to  him.  It  has  been  published  by  Schaeffer: 
Ocho  Comedias  desconocidas,  Leipzig,  1887.  Rocamora,  No.  356. 
also  attributes  this  MS.  to  Lope.  v.  Ztft .  XXIX,  358.  Lope's 
Caballero  de  Olmedo  is  a  later  play  than  the  one  in  the  above 
MS.  Of  it  Menendez  y  Pelayo  says :  «  The  correctness  of  the  style 
and  the  mastery  of  execution  are  characteristic  of  Lope's  latest 
manner  ». 

Caballero  (El)  del  Sacramento.  —  P-. ;  XV :  «  Representola 
Balbin.  »  Acad.  VIII.  MS.  autog.  (Holland),  dated  April  27, 
1 6 10.  It  is  also  called  El  Blason  de  los  Moucadas :  (La  Barrera). 
It  is  different  from  Moreto's  El  Eneas  de  Dios  y  Caballero  del 
Sacramento,  which  is  an  imitation  of  Lope's  coined ia .  \.  Ztft. 
XXVI,  514  and  note.  v.  :i\so  Acad .  Ill,  p.  clxxxiv. 

Caballeros  (Los)  de  San  Juan.  —  (See  La  Perdida  honrosa). 
4- Caballo  (El)voshan  mucrto.  — S.  (J.  R.  C).  "Represen- 
tola Luys  Lopez.  »  The  play  is  really  by  Velez  de  Guevara.  S. 
(Brit.   Mus.),   entitled    Si  el  Caballo  vos  ba)i  Miierto.  Cf.  the 
romance  beginning  : 

Si  el  cauallo  vos  ban  muerto, 
Subid,  Rey,  en  mi  cauallo. 

Cane.  General,  ed.  1604,  fol.  511. 


-^  /  /  .<a>-  /  ^y/^    ^-  //P7/ 


BIBLIOGRAPHY    OF    LOPE    DH    VEGA  I  53 

On  this  romance,  see  Menendcz  y  Pclayo,  Antologia,  XII, 
pp.  165-166. 

*Cada  uno  haze  como  quien  es. —  P-. 

*Cadena(La).  —P. 

Campana  (La)  de  Aragon .  —  P.;  XVIII;  S.  (J.  II.  C.)  ; 
H.  III.,  35;  Acad.  VIII.  MS.  copy  (Parma).  —  This  play  has 
no  fig  lira  del  donay  re.  v.  Restori,  Ztft.  XXVI,  511.  It  was  imi- 
tated by  Vera  Tassis  in  his  La  Corona  en  tres  Hermanos 
(Schaeffer) . 

Capellan  (El)  de  la  Virgen  (San  Ildefonso).  —  P\  ;  XVIII  ; 
MS.  copy  (Parma).  From  Lope's  dedication  it  is  to  be  inferred 
that  the  play  is  much  earlier  than  1623. 
■^  Capitan  Belisario  (El).  — Escog.  VI,  Zaragoza,  1653,  S.  (J, 
R.  C.)  with  the  title  El  Exeniph  Mayor  de  la  Desdicha .  It  is  ascrib- 
ed to  Lope  also  in  Comedias  de  los  mejores  y  mas  insignes  Ingenios 
de  Espaha,  Lisboa,  1652.  La  Barrera,  Ca;^.  p.  708.  The  question 
of  authorship  is  settled  by  the  autograph  MS.  of  Mescua, 
which  bears  an  autog.  censur a  oi  I^o^q,  dated  July  1625.  Cat. 
B.  N.  No.  1057. 

Capitan  Diego  de  Paredes.  —  Mes.  Rom  .  Probably  a  mistake  j^y 
for  La  Contienda  de  Garcia  de  Paredes .  / 

Capitan  (El)  Juan  de  Urbina.  —  (La  Contienda  de  Garcia  de 
Paredes,  y  el  Capitan  Juan  de  Urbina)  ;  ^crt^ .  XL  MS.  copy 
(Duran)  dated  February  15,  1600.  Cat.  B.  N.  No.  1750,  and 
below  La  Contienda  de  Garcia  de  Paredes. 

Caruaxales  (Los).  —  P-.  —  (See  La  inocente  Sangre.^ 

Carbonera  (La)  XXII.  — Madrid,  1635  ;  Acad.  IX.  S.  (Arl., 
Brit.  Mus.;  Duran;  J.  R.  C.)  entitled  Dona  Leonor  de  Gn~man, 
Hermana  de  D.  Pedro  el  Cruel.  The  incomplete  autograph  of 
La  Carbonera  (Third  Act  only)  is  said  to  have  been  in  Duran's 
collection.  It  is  not  given,  however,  in  Paz  y  Melia's  Catalogue. 
«  This  comedia  was  written  in  Lope's  old  age.  »  M.  y  P. 
p.  clxxvi :  Ztft.  XXIX,  127.  La  Carbonera  was  represented  by 
Pedro  de  la  Rosa  in  the  Retire  on  June  25,  1636.  Mod.  Lang. 
Rev.  II,  334. 


151  HUGO    A.    RENNERT 


Carboneros  (Los).  —  (See  La  Sucrle  de  los  Reyes.) 

Cardenal  (El)  Je  Belen,  San  Jeronimo.  —  P^  ;  XIII,  «  Repre- 
scntola  Balbin  »:  H.  Ill,  589;  Acad.  IV.  MS.  copy  Cat.  B. 
N.  No.  499.  Restori,  Ztft.  XXII,  275 . 

Carlos  el  Perseguido.  —  P.  (EI  Perseguido)  ;  I  (Valladolid, 
1604);  also  in  Seis  Comedias  de  Lope  de  Fega  y  olros.  Lisboa  and 
Madrid,  1603,  as  El  Perseguido.  It  has  no  figiira  deldonayre.  This 
comedia  is  founded  on  a  novel  of  Bandello,  Pt.  IV,  6  ;  Schaef- 
fer,  II,  316.  Medel  notes  Lope's  play  and  another,  anonymous, 
with  the  same  title. 

Carlos  V  en  Francia.  —  P^  ;  XIX;  Acad.  XII.  MS.  copy, 
Cat.  B.  N.  No.  371.  The  autog.  MS.  (formerly  Olozaga)  is 
now  in  possession  of  Mr.  J.  T.  Stetson,  Jr.  Philadelphia.  A 
play  called  La  Primcra  Parte  de  Carlos  V .  was  represented 
before  the  King  on  May  28,  1623,  by  the  company  of  Antonio 
de  Prado  :  and  two  comedias  entitled  Carlos  V,  Primera  y 
Segunda  Parte.,  were  represented  by  Prado  on  July  17  and  22, 
1626.  Mod.  Lang.  Rev.  II,  335. 

*Casamiento  (El)  dos  vezes    —  P . 

Casamiento  (El)  en  la  Muerte,  y  Hechos  de  Bernardo  del 
Carpio.  —  P-.  ;  M.  (La  Peiia  de  Francia);  I;  Acad.  VII.  S. 
(Brit.  Mus.,and  J.  R.  C.)  According  to  Fajardo,  the  play  was 
printed  at  Seville  (^Comedias  deLope  de  Fega  Carpio  y  otros  autores) 
under  the  title  of  Nuestra  Sehora  de  la  Peiia  de  Francia .  Tomo 
132  (Osuna).  La  Barrera,  Cat.  p.  683,  and  Life  of  Lope, 
p.  438.  Ludwig,  Lope  de  Vega's  Dramen  ans  dem  Karoliug. 
Sagenkreise.  Berlin,  1898,  p.  3,  identifies  El  Casamiento  01  la 
Mtierte  with  the  unknown  comedia,  Ronccsvalles  in  P.;  Ztft. 
XXVI,  492 . 

Casamiento  (El)  porCristo.  —  H. ;  Mes.  Rom.;  MS.  copy 
(Osuna),  Cat.  B.  N.  No.  527.  Rocamora,  No.  379.  Duran  says 
it  is  identical  with  Santa  fiista,  referring  to  Auroras  de  Sevilla 
by  three  wits.  Fajardo  gives  it  as  anonymous.  Doubtful.  «y^/"?J-  / 

*Casta  Penelope  (La).  —  P^  ;  H.  ;  M. 


BIBLIOGRAPHY    OF    LOPH    DIL   VEGA  I  55 

Castelvines  y  Monteses.  —  P^  ;  XXV;  H.  IV.,  I.  Founded 
)n  the  novel  of  Bandello.  v.  Litlcraliirblalt  (1889),  p.  67;  Schaef- 
er,  II,  317. 

Castigo  (El)  del  Discreto.  —  P\  ;  VII.  C  «^^<  '^^''' 

*Castigo  (El)  exemplar.  —  P-. 

Castigo  (El)  sin  Venganza.  —  XXI;  S.  Barcelona,  Pedro  la 
;^aballeria,  1634;  MS.  autog.  in  Ticknor  Library,  dated  August 
,1631,  with  a  license  of  May  9,  1632.  See  my  article  in 
^eitschrift,  XXV,  p.  411.  In  some  impressions,  such  as  the 
iecond  Part  of  Varios,  Lisboa.  1 647^Js^ntitled  OuandoLopc 
niiere,  quiere.  In  the  Cat.  of  the  Brit.  Mus.  we  read  :  «  ElCas- 
igo  sin  Vcnganga.  Tragedia  [Lisboa,  1647],  ff.  43-64,  of  a  collec- 

ion  :  Dos  Coined ias  las  mas  grand iosas Segunda   Parte  »  . 

rhis  fragment  belonged  to  Chorley.  v.  La  Fiierga  lastimosa 
nd  Barrera,  Cat .  p .  704 .  El  Castigo  sin  Vengan:^a  was  repre- 
ented  by  Manuel  Vallejo  on  February  (?)  3,  1632,  and  hy  Juan 
/lartinez  on  Sept .  6,  1635.  Mod.  Lang.  Rev.  (1907),  p.  335. 
Jbras  Suelt.  VIII.  fjj  (^  ^  ^ 

Castros  y  Andradas .  —  (See  La  desdichada  Estefanid) . 
^Catalan  (El)  Valeroso,  —  P.  Also  entitled  El  gallardo  Catalan 
nd  El  valeroso  Catalan,  q .  v.  and  Menendez  y  Pelayo,  Antolo- 
ia,  XII,  p .  273 .  El  Catalan  valeroso  was  represented  by  the 
ompany  of  Pinedo  on  May  22,  1603  at  Toledo.  Perez  Pastor, 
3ibl.  Madrilena,  II,  p.  92 . 

Cautivo  (El)  coronado.  —  (See  El  Leon  aposlolico.) 

*Cautivos  (Los).  —  P.  ;  (Los  Cautivosde  Argel  ?) 

Cautivos  (Los)  de  Argel.  —  XXV;  on  some  of  leaves  of 
^ctl.,  it  is  entitled  Los  Esclavos  de  Argel.  Though  there  is  a 
racioso  in  this  play,  Chorley  was  inclined  to  believe  that  it  was 
ratten  not  long  after  Philip  Ill's  marriage  (1599),  mentioned 
Q  Act  III.  See  Los  niievos  Mar  tires  de  Argel. 

Cegries  y  Bencerrages .  —  P. ;  (See  La  Envidia  de  la  Noble^a)  ; 
IXll.  Acad.  XI.  Menendez  y  Pelayo  doubts  the  identity  of 
hese  two  plays.  He  says:  «  The  style  and  versification  ot  La  Envi- 

— — ^^-Ji^.  ^  0 


156  HUGO    A.    REXNERT 


dia  di'  hi  NobIe~a,  and  especially  the  abundance  oi  decinun  induce 
me  to  think  that  it  is  much  later  and  of  the  last  years  of  the 
poet.  .  .  Perhaps  Lope  treated  the  same  subject  twice,  a  not 
unusual  thing  in  him.  »  (p.  ix):  Restori,  Ztft .  XXX,  216. 

Celos  (Los)  de  Rodamonte.  —  P.;  MS.  copy  (Osuna),  Cat. 
B.  N.  No.  568;  Rocamora,  No.  394;  it  is  probable  that  the 
play  with  this  title,  ascribed  to  Mescuain  Doce  Comedias  devarios 
autoreSy  Tortosa,  1638,  is  by  Lope;  Huerta  cites  one  by  Rojas, 
of  which  there  is  a  siicJta  in  the  Imp.  Lib.  at  Vienna;  La  Bar- 
rera  says  this  latter  was  written  by  Rojas,  and  is  in  Part  L  ot 
his  Comedias,  Madrid,  1640.  A  play  entitled  Rodamonte  Aragone's 
was  played  by  the  company  of  Olmedo  in  1622.  Schack,  Nach- 
trdge,  p-  67.  Printed  in  Academy^  XIII  (v.  p.    cxviii.) 

Celos  (Los)  por  la  Alabanza.  —  A  coined ia  in  possession  ot 
ih(^  antor  de  comedias  ]ua.x\  Jeronimo  Almella  in  1628.  Bull.  Hisp. 
VII,  376.  Very  doubtful. 

*Celos  (Los)  satisfechos .  —  P . 

Celos  (Los)  sin  Ocasion.  —  P*. ;  M.  Restori  says:  «  It  seems 
probable  that  Lope  was  thinking  of  El  mas  galan  Portugiies, 
Duque  de  Verganca  (which  at  the  end  also  bears  the  title  Injustos 
Celos^  when  he  was  drawing  up  the  list  for  the  Peregritw,  which 
was  done  justat  this  time  and  published  in  1618,  puttingit  down 
with  the  title  :  Celos  sin  Ocasion  ».  Ztft.  XXIX,  365. 

*Celoso  (El)  de  si  mismo.  —  (See  La  Pastoral  de  Jacinto.) 

*Cerco  (El)  dc  Madrid.  —P. 

*Cerco(El)deOran.  —  P. 

Cerco  (El)  de  Santa  Fe  y  ilustre  Hazana  de  Garcilaso  de  la 
Vega.  —  P.  (Garcilaso  de  la  Vega?)  I;  S.  (Madrid,  1731) 
Parma;  Acad.  XI.  This  play  has  no  figura  del  donavre.  Restori 
places  this  play  after  i^^j,  in  which  year  the  Romancero  01 
Gabriel  Lobo  Laso  de  la  Vega  was  published.  Ztft.  XXX, 
221 . 

Cerco  (El)  dc  Toledo.  —  P.  ;  M.  and  H.  (anon.).  Perhaps  this 
is  the  same  as  El  Hi  jo  por  Engaiio  y  Toma  de  Toledo. 


BIBLIOGRAPHY    OI-    LOPE    DE    VEGA 


)/ 


-^Cerco  (El)  de  Tunis  por  Carlos  V.  —  Mes.  Rom.  This  is 
probably  a  mistake .  A  play  of  somewhat  similar  title,  ascribed 
to  Miguel  Sanchez,  is  in  the  Doce  Comedias  de  varios  Autores,  Tor- 
tosa,  1638. 

Cerco  (El)  de  Viena  y  Socorro  por  Carlos  V.  —  P.  (El  Turco 
en  Viena);  H. ;  S.  (J.  R.  C. ;  Holland;  Parma  and  Vienna); 
Acad.  XII.  See  2///.  XXXI,  488. 

Chaves  (Los)  de  Villalba.  — P.;  (see  El  Blason  de  Jos  Chaves). 
H.;  X.  xMS.  copy  (Parma).  The  character  of  the  servant  Toledo 
amounts,  so  Chorley  thinks,  to  a  figura  del  donayre.  Lope  finish- 
ed I,05  C/j^wi  ^^  Villalba  \n  Chinchon  on  August  20,  1599. 
The  original  autograph  existed  in  the  Archives  of  the  Duke  of 
Sessa  in  1781.  C(7/.  B.  N.  No.  371. 

Cierto  (Lo)  por  lo  Dudoso.  —  XX  ;  H.  I.,  453;  Acad.  IX. 
Stielta  of  44  pages,  Brusselas,  en  casa  de  Huberto  Antonio  Velpio, 
1649.  Salva,I,  548;  S.  (H.  A.  R.). 

*Circe  Angelica  (La).  —  P. 

Ciro,  Hijo  de  la  Perra  (or  Zirro.  Medel.  anon.).  According  to 
Fajardo,  this  is  identical  with  Contra  Valor  no  hay  Desdlcha, 
q.  V. 

*Ciruxano  (El).  —  P. 

Ciudad(La)sin  Dios.  —  H.;  S.  (J.  R.  C.  andDuran);  MS. 
copy  Cat.  B.  N.  No.  420.  Printed  in  Escog.  II,  as  El  Inobe- 
diente,  6  La  Ciudad  sin  Dios,  by  Claramonte  ;  it  is  attributed  to 
Lope  in  Parte  XXVI,  extravagante,  1 632-1633.  It  is  a  re-cast 
by  Claramonte  of  Lope's  play  ;  Acad.  III.  Salva,  I,  p.  580,  pos- 
sessed a  very  old  siielta  in  the  name  of  Lope.  Schack,  Nachtrdge, 
p.  40,  says  that  he  has  good  grounds  for  believing  that  this 
play,  together  with  Acer  tar  errando  and  Los  Aniigos  enojados,  were 
printed  in  a  volume  of  Comedias  of  Sevilla  or  Lisbon,,  1603: 
this  volume  is  unknown.  According  to  Duran,  La  Coric  del 
Demonio  by  Velez  de  Guevara  is  upon  the  same  subject. 

Comedia  (La)  de  Bamba.  —  v.  Vida  y  Miterte  del  Rey 
Vamba. 


I  s8  HUGO    A.    RENNERT 


Comendador  (El)  de  Ocana.  —  P-.  ;  see  Perihahe:{. 

Comendadores  (Los)  de  Cordoba,  6  Honor  desagraviado,  — 
P. ;  II  ;  Acad.  XI.  There  is  an  autograph  MS.  by  Claramonte  of  a 
coiiicdia  which  bears  the  same  title  in  the  Bib.  Nac.  Cat.  Nos.  635 
(and  V.  p.  721),  but  it  is  an  entirely  different  work  and  Menen- 
dez  y  Pelayo  observes  that  it  is  not  Claramonte's,  because  it  is 
well  written  and  in  good  veise,  while  Claramonte's  versification 
was  very  incorrect.  The  MS.  in  Claramonte's  hand  is  really  Alvaro 
Cubillo  de  Aragon's  La  mayor  Vengan:^a  de  Honor  of  Parte  X  of 
Escog.  Madrid,  1658.  v.  SchaefTer,  II,  96;  Restori,  Ztft.  XXX, 
228 .  « It  seems  probable  »,  Menendez  y  Pelayo  says,  «  that  Los  Co- 
mendadores de  Co/Y/o/'rt  was  written  in  Toledo,  to  which  Lope  made 
frequent  visits  in  the  early  years  of  the  xvii  century  »  (p.  Iviii). 
The  play,  in  fact,  was  written  in  1593  o^  earlier,  for  Gabriel 
Nuiiez  agreed  to  represent  the  play  at  Nava  del  Carrero  on  July  9, 
1593.  Perez  Pastor,  Niievos  Datos,  p  •  3  6 .  Restori  thinks  Los  Comen- 
dadores was  written  before  1587.  Ibid.,  p.  227.  The  play  contains 
no  figur a  del  donayrc. 

Como  ha  de  ser  un  buen  Rey.  —  (See  El  Principe  perfeto . 
Parte  II.) 

Como  ha  de  usarse   del  bien   y  ha   de  prevenirse  el  mal.  — 

It  is  Los  Gii:{inanes  de  Toral.  q.  v. 

Como  han  de  ser  los  Nobles.  —  S.  (Duran);  S.  (J.  R.  C.) 
entitled  Los  Nobles  como  ban  de  ser:  and  so  mentioned  by  H.  A 
xMS.  in  Duran's  collection  bore  this  second  title  :  it  is  now  in  the 
Bib.  Nac.   Cat.  No.  2366. 

Como  se  vengan  los  Nobles.  —  M.  La  Barrera  asserts  that 
this  is  El  Testimonio  vengado,  P.  ;  I  .  But  Chorley  inclines  tc 
think  that  this  view  may  be  mistaken.  In  El  Teslinwnio  vengado 
Ramiro  avenges  —  not  himself,  but  — his  step-mother  (consorl 
of  Don  Sancho  el  Magno),  whose  three  children  bear  false 
witness  against  her. 

I  have  a  suelta  by  Moreto  entitled  :  Como  se  vengan  los  Nobles ; 
with  this  title  it  is  also  given   in    Parte    III.   of  his   Comedias 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  I  59 

(Valencia,  1703,  in  my  cop}^),  and  in  Escog.  XXIX.  This  play 
of  Moreto's  is  founded  on  El  Testimonio  vengado.  Schaeffer, 
Gcschichie,  I,  116,  says  :  «  witii  the  title  Coiiio  se  vengan  las  Nobles 
Lope  wrote  two  pieces,  one  with  the  supplementary  title  Ln 
Pntdencia  en  el  Castigo,  the  other  with  that  of  El  Testimonio  ven- 
gado. »  Chorley's  objection  is  not  to  the  point. 

Competencia  (La)  en  los  Nobles.  —  H.;  S.  (Brit.  Mus.;  Bib. 
Nac).  «  Representola  Tomas  Fernandez.  »  MS.  copy,  B.  N. 
Cat.  No.  420;  MS.  copy  Brit.  Mus.,  dated  November  16,  1628. 
There  is  also  an  ancient  suella^t  Parma,  v.  Life  of  Lope,  p.  318, 
n.  I.  The  incomplete  autograph  was  alleged  to  be  in  the  Duran 
collection. 

*Competencia  (La)  enganada.  —  P. 
-J-'  Conde  (El)  de  Yrlos.  —  P.   There  is  a  comedia  by    Guillen 
de  Castro  with  this  title  in  Parte  L    of  his  Comedias.    A  suelta 
by  Cubillo  (J.  R.  C.  and  Vienna)  bears  the  same  title,  but  is 
otherwise  quite  distinct  from  Castro's  play. 

Conde  (El)  Fernan  Gonzalez.  —  At  the  conclusion  of  the 
comedia  it  is  called  :  La  Libertad  de  Castilla  por  el  Conde  Fer- 
nan Gon^alei.  —  P^  ;  XIX;  Acad.  VII.  MS.  copy  (Parma),  v. 
Zlft.  XXVI,  501. 

This  differs  wholly  from  another  play  upon  the  same  subject : 
De  la  Libertad  de  Castilla  por  Fernan  Gon:^ale:(,  «  en  lengua  anti- 
gua,  ))  by  Hurtado  de  Velarde,  printed  in  Seis  Comedias  de  Lope 
de  Vega  Carpio  y  deotros,  Lisboa  (and  Madrid),  1603.  Linan  de 
Riaza  also  wrote  a  comedia  entitled  El  Conde  de  Castilla,  accord- 
ing to  a  letter  of  Lope  de  Vega,  but  this  play  appears  to  be 
lost. 
^  Conde  (El)  Don  Pedro  Velez.  —  H.  ;  S  .(Osuna,  Tomo  132, 
H".  95-145).  This  so-called  suelta  seems  to  be  a  fragment  of  the 
volume  of  Comedias  by  Lope  and  others,  printed  at  Seville  and 
recorded  by  Fajardo .  There  was  also  a  MS .  in  the  Osuna  col- 
lection.  Rocamora,  No.  416,  in  which  it  is  ascribed  to  Lope. 
In  the  Bib.  Nac.  Cat.  No.  670  there  is  an  autog.  MS.   signed 


l60  HUGO    A.    RENNERT 


by  Luis  \'elez  de  Guevara  entitled  :  El  Condc  Don  Pedro   Vele:^  y 
D.  Sanchoel  Deseado. 

*Conde  (El)  don  Tomas.  —  P. 

*Condesa  (La).  —  P.  (La  Condesa  Matilde  ?) 

Condesa  (La)  de  Belflor.  —  (See  El  Perro  del  Horlelano.) 
-^  Condesa  (La)  Matilde  perseguida,  y  Capuchino  escoces.  H. 
S.  (Brit.  Mus.)  «  de  un  Ingenio  » .  This  play  is  almost  certain- 
ly not  by  Lope  ;  La  Barrera  ascribes  it  to  Felix  de  Adsaneta, 
who  svas  not  born  till  1691,  more  than  half  a  century  after  Lope's 
death . 

Condesa  (La)  Matilde  y  la  Resistencia  honrada.  —  IL  Also 
ascribed  to  Lope  in  a  MS.  at  Parma.  This  play  has  no  figuradel 
donayre .  La  Condesa  Matilde  was  represented  by  Caspar  de  Porres 
before  May  7,  1605.  Perez  Pastor,  Nuevos  Datos,  p.  90.  As  Por- 
res and  Lope  were  on  very  friendly  terms,  there  can  hardly  be  a 
doubt  that  this  play  and  the  Condesa  of  P .  are  identical . 
4.  Confusion  (La)  de  Ungria.  —  Fajardo  asserts  that  this  was 
printed  in  the  edition  of  Lope's  Comedias  published  at  Seville. 
The  play  seems  to  be  by  Mescua,  Escog.  XXXV.  Salva,  Cat .  I, 
583. 

*Conquista  (La)  del  Andalucia.  —  P.;  P- . 

Conquista  (La)de  Canaria .  —  P-. ;  (See  Los  Guanches  de  Tene- 
rife^.  La  Conquista  de  Tenerife.  P^. 

*Conquista  (La)  de  Cortes.  —  P^  «  It  appears  from  the 
Catalogue  of  the  heirs  of  Medel  del  Castillo  that  this  play  was  on 
sale  in  1725 .  »  M.  y  P. 

*Conquista  (La)  de  Tremezen .  —  P .  «  In  the  volume  Doce 
Comedias  de  Varios,  Tortosa,  1638,  there  is  a  Cerco  de  Treniecen, 
attributed-to Guillen  de. Castro,  which,  in  effect,  seems  to  me 
to  be  his  and  not  Lope's.  »  Menendez  y  Pelayo,  Acad.  XIII, 
p.  xli. 

Consu  Pan  selocoma.  —  P-. ;  XVII.  «  Representola  Valdes.  » 
MS.  copy  (Parma).  An  auto  entitled  Con  sn  Pan  se  lo  coma  was 
represented  by  Juan  de  Morales  Mcdrano  in  i6i-j.  BitU .  Hisp. 
(1907),  P-  S79- 


BIBLIOGRAPHY    OF  LOPE    DH    VEGA  l6l 

Contienda  (La)  de  Garcia  de  Paredes  y  el  Capitan  Juan  dc 
Jrbina.  (See  EI  Capitan  Juan  de  Urbina.')  Acad.  XI.  The  auto- 
graph MS.  (dated  February  15,  1600)  was  in  the  Sessa  Archi- 
7esas  late  as  1781  .  Duran  had  a  copy  which  was  made  from  it.  v. 
Zat.  B.  N.  No.  1750.  This  comedia  was  represented  by  the 
mtor  de.  comedias  Becerra  at  Jaen  on  January  17,  16 14,  and 
)y  the  company  of  Antonio  Granados  at  Court  on  July  15,  1626. 
7.  the  important  remarks  of  Restori,  Ztft.  XXX,  p.  231,  and 
■oil. 

Contra  Valor  no  hay  Desdicha,  y  Primero  Rey  de  Persia.  — 
KXIII;  Dif.  XXXI;  H.  III.,  i;  Acad.  VI.  S.  (Brit.  Mus., 
md  J.  R.  C).  According  to  Fajardo,  the  alternative  title  is 
Ziro,  Hijo  de  la  Pcrra,  and  Ciro  y  Arpago.  Medel  mentions  an 
monymous  play  called  Zirro.  v.  Lope.  ed.  Hartzenbusch,  IV, 
3.  xxxi  :  and  Ztft.  XXIII,  451.  This  is  one  of  the  latest  comedias 
:hat  Lope  wrote,  as  is  showai  by  the  concluding  verses: 

Lope  :  Y  aqui  dio  fin  el  Poeta, 

(que  aun  vive  para  serviros),  etc. 

The  play  Ciro  y  Arpago  was  represented  by  Pedro  de  la  Rosa 
in  the  gallinera  o(  the  Retiro  on  August  9,    1636.   Mod.  Lang.  ^       , 

Rev.,  II,  336. _  ^  ,^Z 

""Cordobes  (ElJValeroso,  Pedro  Carbonero.  —  P^  ;  XIV  ;  MS.        ^  oh^n^ 

mtog.  Cat.  B.  N.  No.  714,    signed  at  Ocana,   on  August  26,  ^'  ,  \    '^■ 

1603,  ^\tX\  censiiras  of  1603,  1604,  16 10  and   16 17.  Lope  calls 

it  a    Tragi-coinedia.    «  Representola  [Antonio]    Granados,  y  el 

Pedro  Carbonero  famosamente.  »   Acad.  XI.   From  the  reparlo 

we  learn  that  the  part  of  Cerbin  was  taken   by  Benavides,  and 

that  of  El  Rey  by  Antonio  Villegas.  H  f^,  /f^^,  )-.  -^7/ 

Corona  (La)  de  Ungria,  y  la  injusta  Venganza.  —  MS.  copy 
(Duran)  Cat.  B.  N.  No.  716.  The  autograph,  dated  December 
23,  1633,  is  said  bv  Duran  to  be  in  the  Archives  of  the  Marquis 
of  Astorga.  In  1628  the  antor  de  comedias  j nan  Jeronimo  Almella 
owned  a  comedia  entitled    La  Corona    de  Ungria.   Bull.  Hisp. 

REVUE   HISPANIQUE.    G.  " 


1 62  HUGO   A,    RENNERT 


Mil  (1906),  376  and  ioU.  Perhaps  1633  is  a    mis-reading  for 
1623  in  the  autograph.   J^<^-  A/^  jT^  ^  Oy 

Corona  (La)  derribada  y  Vara  de  Aloises.  —  Acad.  III.  MS. 
copy  (Parma),  of  the  beginning  of  the  xvii  century,  and  bears 
the  alternative  title  La  Milagrosa  Elecion.  See  Restori,  p.  19: 
Academia,  III,  p.  Ixxiv.  Doubtful.  It  is  by  Godinez  ? 

Corona  (La)  merecida.  — P.;  XIV;  H.  I.,  227;  the  autog. 
MS.  dated  1603  existed  in  the  Astorga  (Sessa)  Archives; 
Acad.  VIII.  «  Representola  Granados  ».  On  the  two  versions  of 
the  legend  of  Maria  Coronel,  v.  Restori,  Ztjt.  XXVI,  515.  The 
play  has  no  figura  del  donayre. 

Cortes  (El)  Galan. —  v.  La  Nina  de  Plata. 

*Cortesano  (El)  en  su  Aldea.  —  P.  ;  (El  Cortesano  embus- 
tero?).  MS.  copy  (Parma).  Restori,  p.  20,  and  Ztjt.  XXVI, 
515.  Restori  thinks  that  the  Parma  MS.,  El  Cortesano  emhiisj 
may  be  thej)lay  of  Lope,  that  is  supposed  to  be  lost.VIt  is  found- 
ed on  a  novel  of  Ciuzio  Giraldi,  Ecatommiti^~Deca.  decima, 
No.  5,  according  to  Restori,  who  shows  that  this  is  the  same 
play  as  La  Ginohesa  of  the  first  list  of  the  Peregrhw.  v.  Genova  ncl 

Teatro  classico  di  Spagna,  pp.  30-3.2,,_-^ "  ~         ->,^  /^ 

:!ofteT;iT'(I:ayiie  Espaiia.  —  P^;  XII;  MS.  copy  (Parma)/ 

Creacion  (La)  del  Mundo  y  primera  Culpa  del  Hombre.  — 
XXIV,  Madrid,  1640  (according  to  Nicolas  Antonio);  Coinedias 
nuevas,  etc.  Amsterdam,  1726;  S.  (Arl.,  Brit.  Mus. ;  J.  R.  C; 
H.  A.  R.  and  Vienna).  At  Parma  there  is  an  ancient  siielta  and 
one,  Madrid,  Antonio  Sanz,  1744.  Restori,  Z///,XXII,  116. 

Crueldades  de  Ncron.  —  See  Roma  abrasada. 

Cuando  Lope  quiere,  quiere.  —  See  El  Casligo  sin  Vengan~a, 

Cuentas  (Las)  del  Gran  Capitan.  — XXIII  ;  Acad.  XI.  «  This 
play,  which  certainly  belongs  to  the  closing  years  of  the  poet's 
life,  was  written  to  flatter  his  patron  the  Duke  of  Sessa,  a  de- 
scendant of  the  immortal  conqueror  of  Naples.  »  M.  y  P.  v. 
Restori,  Ztjt.  XXX,  229,  who  also  prints  an  interesting  romance 
on  the  Great  Captain. 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  1 63 


Cuerdo  (El)  en  su  Casa.  —  P.^ ;  VI;  H.  Ill,  44.3. 

Cuerdo  (El)  loco,  y  Veneno  saludable.  —  P. ;  P-.  ;  XIV  ;  MS. 
autog.  (Holknd),  dated  November  11,  1602;  MS.  copy  (Duran) 
in  Cat.  B.  N.  No.  1750.  «  Representola  Granados.  «  See  also 
No.  3438,  and  post,  El  Veneno  saludable.  This  play  has  no  figiira 
del  donayre.    ^  f'^ ,  /fd,  V,^  .  ^^^. 

D 

Dama  (La)  boba.  —  P^  ;  IX;  H.  I.,  297  ;  S.  (J.  R.  C. ,  La 
Dama  discreta).  MS.  autog.  (Osuna),  dated  at  Madrid,  April  28, 
1613.  Cat.  B.  N.  No.  810;  Rocamora,  No.  450.  At  the  end 
Lope  calls  it  La  Coinedia  boba. 

Dama  (La)  Comendador.  —  See  Mas  pueden  Zelos  que  Amor. 

*Dama  (La)  desagraviada.  —  P. 

*Dama  (La)  Estudiante.  —  P. 

Dama  (La)  melindrosa.  —  H.;  S.  (Brit.  Mus.  and  J.  R.  C). 
See  Los  MeUndres  de  Belisa. 

David  perseguido,  y  Montesde  Gelboe.  —  H.  ;  S.  (J.  R.  C. 
and  Vienna).  There  are  many  sueltas  of  this  play :  I  have  one 
«^  En  Barcelona,  por  Juan  Serra  y  Nadal  »,  without  date  ;  there 
are  others  of  Madrid,  Antonio  Sanz,  1745  and  Madrid  1756 
and  1 79 1  in  the  Brit.  Mus.  Duran's  MS.  copy  is  entitled  : 
Persecuciones  de  David,  v.  Ztft.  XXII,  122.  Printed  in  Acad. 
III. 

De  Cosario  a  Cosario.  —  XIX;  H.  III.,  483  ;  a  MS.  copy, 
abridged  for  representation  is  noted  in  Cat.  B.  N.  No.  3740, 
MS.  copy  (Parma).  There  is  an  edition  of  this  play:  En  Bruselas, 
Huberto  Antonio  Velpio,  1649.  Salva,  I,  p.  548. 

De  cuando  aca  nos  vino.  — P\  ;  XXIV,  Zaragoza,  1633; 
H .  III.,  199 ;  written  by  Lope  and  Fr.  Alonso  Remon  in  collab- 
oration. A  so-called  suelta  is  merely  a  fragment  of  the  above 
Parte  XXIV.  Rocamora,  No.  457.  MS.  (Osuna).  Cat.  B.  N. 
No.    825.   The  first   and  third   Acts  are  in  Lope's  hand,   the 


164  HUGO    A.    RENNERT 


second  in  that  of  Remon .  The  play  was  represented  in  Perpi- 
gnan  sometime  after  March,  163 1,  by  the  company  of  Pedro  de 
Valdes.  Morel-Fatio.  CaJderon:  Revue  Critique,  etc.,  p.  65.  The 
comedia  is  there  called  :  De  (juando  aca  nos  viuo  \  Gradas  de  San 
Felipe.  Moreto's  De  fucra  vendrd  is  taken  from  this  play, 

*De  donde  diere.  —  P-. 

Defensa  (La)  en  la  Verdad.  —  H.  ;  M.  (anon.);  S.  (J.  R.  C. ; 
Duran ;  Salva;  Holland  and  Parma).  According  to  the  suelta: 
«  Representola  Olmedo.  » 

Defensor  (El)  de  las  Mugeres.  —  (See  El  Premio  del  bien 
Hahlar.) 

*Degollado  (El)  lingido.  —  P. 

Del  mal  lo  menos.  — P-. ;  IX.  In  addition  to  Lope's  comedia 
there  is  a  play  of  this  title  by  Tirso  de  Molina  (more  generally 
called  Averigiklo  Vargas  :  Del  mal  el  menos),  and  another  by 
Antonio  de  Cardona,  Escog.  XXXVIII.  There  is  a  suelta  which 
seems  to  have  formed  part  of  the  volume:  En  Brusselas,  Huberto 
Antonio  Velpio,  1649.  Salva,  I,  548. 

Del  Monte  sale  quien  el  Monte quema.  —  H.  ;  M. ;  MS.  autog. 
Cat.  B.  N.  No.  848  (Osuna),  dated  October  20,  1627,  with 
licenses  as  late  as  1636.  Rocamora,  No.  461.  t/^^.«V  /K  JZ^^^ 

Desconfiado  (El).  — P-. ;  XIII ;  «  Representola  Ortiz,  famoso 
Representante  ». 

Descubrimiento  (El)  de  las  Batuecas.  —  (See  El  Sol  en  el 
Nuevo  Muudo'). 

Desden  (El)  vengado.  —  P-. ;  MS.  autog.  (Osuna),  Cat.  B. 
N.  No.  871,  signed  by  Lope  at  Madrid,  August  4,  16 17,  with 
licenses  of  that  year  and  of  1622.  Rocamora,  No.  466.  There  is  a 
play  of  this  title  in  Escog.  XVI,  witbliojas.ZojriHa's  name  attach- 
ed to  it.  This  comedia  was  probably  written  by  Lope  for  the 
Valencianos,  autores  dc  comedias.  It  was  in  the  possession  of  Juan 
Jeronimo  Almella  in  1628.  Bull.  Hisp.  VIII,  376.  Cf.  Bandello, 
Part  III,  Nov.  XVII. 

Desdichada(La)Estefania. —  XII.  Also  printed  in  Doce  Comedias 


BIBLIOGRAPHY    OF    LOPE    DE  VEGA  1 6) 

nvevas de  Lope  y  otros ,  Ba.rcQ[ona.,  1630  (Barr.,  p.  707),  with  its 
second  part  :  El  Pleito  por  la  Honra,  6  el  Valor  de  Feruandico  : 
see  Acad.  VIII.  In  the  closing  lines  the  play  is  called  La  Desdi- 
chada  inocente;  according  to  Barrera  it  is  also  known  as  Los  Cas- 
tros  V  Andradas.  The  same  story  is  used  by  Guevara  in  Los  Zelos 
hasla  los  Cielos.  S.  (J.  R.  C).  See  also,  as  belonging  to  this  series 
of  plays,  Servir  con  mala  Estrella.  The  story  of  Fernan  Ruiz  de 
Castro  and  his  wife  Estefimia,  daughter  of  the  Rmperor 
Alfonso  VII,  is  related  by  Prudencio  de  Sandoval,  Cronica  del 
Emperador  Alfonso  VII,  Madrid,  1600;  and  by  Arze  Solorzcno, 
Trashed ias  de  Amor,  Madrid,  1607.  See  Academy,  VIII,  and  Ztft. 
XXVI,  513,  where  Restori,  also  cites  Flores,  Reinas  Catolicas,  I, 
307-311. 

*Desdichado  (El).  —  P. 

*Despenado(El).  —  P.  (El  Principe  despeiiado,  in  Parte  XII  ?) 
This  play  has  no  figura  del  donayre. 

Despertar  a  quien  duerme.  —  P-.;  VIII.  According  to  Fajardo 
it  is  also  in  Parte  XXVI,  extravagante,  Zaragoza,  1645;  H.  Ill, 
345.  MS.  copy  (Parma).  The  first  and  second  Acts  are  imitated 
by  Moreto  in  La  misma  Conciencia  acitsa  (Schaeffer). 

Desposorio  (El)  encubierto.  —  P-.;  XIII.  This  play  has  no 
Hgura  del  donayre.  «  Representola  Vergara  » . 

Despreciada  (La)  Querida.  —  XXIV,  Madrid,  1640,  (accord- 
ing to  Nicolas  Antonio)  ;  Dif.  XXVIII;  «  Representola  Antonio 
de  Prado  ».  H.  II.,  327.  MS.  copy  (Osuna),  dated  1628.  But 
Hartzenbusch  states  that  the  true  author  of  this  comedia  is  Juan 
Bautista  de  Villegas,  whose  autograph  of  Act  III  (dated  Valencia, 
May  15,  1621)  was  said  to  be  in  Duran's  collection.  [Both  MSS. 
are  now  in  the  Bib.  Nac.  {Cat.  No.  888)J.  See  also  La  Barrera^ 
Cat.,  p.  495.  The  suelta  in  the  Brit.  Mus.  is  a  fragment  of  Dif. 
XXVIII. 

Desprecio  (El)  agradecido.  —  XXV;  Vega  del  P.  ;  Escog. 
XXXIX,  with  the  title  La  Dicha  por  el  Desprecio,  and  ascribed  to 
Matos  Fragoso ;  H.  II.,  p.  251.  Fajardo  asserts  that  it  was  in 


1 66  HUGO    A.    RENNERT 


Parte  v.,  published  at  Seville.  It  is  a  late  play,  written  probably 
after  1633,  as  it  refers  {Fega  del  P.  fol.  153)  to  the  Parte  ven- 
tiseisde  Lope,  one  oi  \host  c2\\qA  extravagantes . 

Devocion  (La)  del  Rosario.  —  MS.  copy  (Duran),  in  Cat.  B. 
N.  No.  §99,  ascribed  to  Lope,  and  different  from  Diamante's 
play  of  the  same  title.  The  last  line  of  the  MS.  is  :  «  Y  ansi  os  lo 
ofrece  Velarde.  »  =  Velardo  (?)    A^Q^~  M  jl^  ?<i 

Di  Mentira,  sacaras  Verdad.  —  XXII,  Zaragoza,  1630.  S.  (J. 
R.  C).  La  Barrera's  conjecture  (Cn/^/o^o,  p.  681)  that  this  may 
be  the  play  of  Matias  de  los  Reyes,  is  correct,  for  at  the  end  we 
read : 

«  Aqueste  es  el  fm  que  dio 
a  la  fabula  Batilo.   » 

BaliJo  is  the  poetical  pseudonym  of  Matias  de  los  Reyes, 
■t  Diablo  (El)  Nino.  —  M.  ;  H.  ;  S.  (Duran ;  Holland).  Chorley 
possessed  a  sueha  of  this  play  entitled  El  Nino  Diablo.  The  Osuna 
MS.  El  Nino  Diablo,  Cat.  B.  N.  No.  2308,  ascribed  to  Lope  de 
Vega  (Rocamora,  No.  923)  is  doubtless  by  Luis  Velez,  who 
uses  his  poetical  name  Lauro,  at  the  end  of  the  play,  and  promises 
a  second  part. 

Diablos  son  Mugeres.  —  (See  Los  Milagros  del  Desprecio). 

Dicha  (El)  del  Forastero.  —  P\  ;  (see  La  Portngmsd).  This 
comedia  was  in  the  possession  of  the  autor  de  comedias  Andres  de 
la  Vega,  in  November,  1632.  Perez  Pastor,  Niievos  Datos, 
p.  226. 

*Dicha  (La)  mueno  su  Dueno.  —  P-. 

Dichoso  (El)  en  Zaragoza.  —  (See  La  Merced  en  el  Cdstigo.) 

Dichoso  (El)  Patricida.  —  H.  ;  (see  El  Animal   Profeta). 

*Difunta  (La)  Pleyteada.  P.  According  to  La  Barrera,  the 
play  of  this  title  in  Escog.  XX,  to  judge  by  its  style,  may  well 
be  Lope's.  It  is  there  ascribed  to  Rojas;  but,  as  Chorley  observes, 
in  his  authentic  plays  Rojas  introduces  a  gracioso.  There  is  no 
such  character  in  the  present  comedia,  which    is  probably  a  re- 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  1 67 

cast  of  Lope's  piece.  See  the  very  interesting  study :  La  dijunla 
pkiteada  by  D^  Maria  Goyri  de  Menendez  Pidal,  Madrid,  1909. 
Schaeffer  (II,  122)  ascribes  the  above  play  in  Escoi^.  XX,  to 
Rojas. 

Dineros  son  Calidad.  —  XXIV,  Zaragoza,  1633;  Escog.  VI, 
Zaragoza,  1653;  it  is  also  ascribed  to  Cancer  in  a  siiella;  MS. 
copy  (Osuna),  Cat.  B.  N.  No.  928;  Rocamora,  No.  486.  H.  III., 
59.  S.  (Brit.  Mus.  ;  J.  R.  C.  ;  Parma;  H.  A.  R.).  The  play  is 
unquestionably  Lope's,  though  portions  show  the  hand  of  an- 
other. It  has  been  imitated  by  Cancer,  Zabaleta  and  Martinez  in 
La  Ra{oii  hace  Dichosos  and  by  Vera  Ordonez  and  Jose  de  Ribera 
in  Mcrccer  dc  la  Forhuia  Ensal:ia)nie}itos  dichosos,  and  suggested 
toTirso  de  Molina  the  scene  of  the  marble  statue  of  the  Comcn- 
dador  in  El  Biirlador  dc  Scvilla.  Schaeffer,  I,  143  ;  v.  also  : 
Menendez  y  Pelayo,  Acadcmia,  IX,  p.  clxv.  Dineros  son  calidad 
was  represented  by  Felipe  Sanchez  Echeverria,  in  September  1623 . 
Mod.  Lang.  Rev.  (1907),  p.  338. 
^  Dios  hace  Justicia  a  todos.  —  M.;  H. ;  doubtful.  The  Osuna 
MS.  is  ascribed  to  Lope,  according  to  Rocamora,  No.  487  :  in 
the  Cat.  B.  N.  No.  929,  the  comedia  is  ascribed  (by  Sr^Paz  ?) 
to  D.  Francisco  de  Villegas,  and  says  that  it  is  in  the  hand  of 
Matos  Fragoso.  Escog.  XLII,  as  by  Villegas,  to  whom,  in  the 
opinion  of  La  Barrera  it  belongs.  Schaeffer  suggests  that  Villegas 
may  have  imitated  Lope's  play  (II,  225). 

Dios  haze  Reyes  (y  los  Hombres  las  Leyes).  —  XXIII.  S.  (J. 
R.  C).  This  play  has  no  figura  del  donayre,  but  see  note  on 
p.  132.  The  play  was  written  before  July,  1621.  v.  Lifeof  Lope, 
p.  294,  and  n . 

Discordia  (La)  en  los  Casados.  —  H.  (anon.);  MS.  autog. 
(Osuna),  Cat.  B.  N.  No.  933,  dated  Madrid,  August  2,  16 11, 
with  licenses  ofFr.  Alonso  Remon  to  represent  in  Madrid,  161 5, 
and  others  in  Granada,  161 5  and  Lisboa,  1^18.  Rocamora, 
No.  488.  Printed  anonymously,   t/l^taj^  /V.  Jl ^  /^S~ 

Discreta  (La)  Enamorada.  —  P\;  Escog.  Ill;  H.  I.,  155;  MS. 


1 68  HUGO    A.    RENNERT 


(modern),  Cat.  B.  N.  No.  934.  Copy  (dated  1735)  Parma.  This 
play  is  one  of  the  sources  of  MoHere's  Ecole  des  Maris.  S.  (Hol- 
land). The  play  is  founded  on  Boccaccio,  Decamenvie,  III.  3.  It 
was  imitated  by  Matos  Fragoso  in  his  La  Tia  dc  la  Menor  (Schaef- 
fer).  The  siidla  in  the  Brit.  Mus.  is  a  fragment  of  Escog.  III., 
1653. 

Discreta  (La)  Venganza.  —  XX;  Escog.  XXXIX,  where  it  is 
ascribed  to  Moreto.  H.  III.,  303. 

Divina  (La)  Vencedora.  —  P.;  MS.  copy  (Duran),  Act  III 
only.  Cat.  B.  N.  No.  947.  Another  MS.  copy  (of  first  two  Acts 
onlv)  dated  1624,  at  Parma.  The  title  of  the  Parma  MS.  is: 
La  dibina  Beiicedora  y  famosos  Hechos  de  Medeliii  Gallinato  y  Toina 
dc  Moron.  Restori,  p.  21. 

Divino  (El)  Africano,  San  Agustin.  —  P-.  San  Augustin  ; 
XVIII ;  Acad.  IV;  MS.  copy  (Parma),  v.  Ztfi.  XXII,    275. 

Domine  (El)  Lucas.  —  P. ;  XVII ;  «  Representola  Melchor  de 
Villalba  ».  H.  I.,  43.  MS.  copy  (Parma).  This  play,  written 
at  Alba  de  Tormes,  as  the  dedication  states,  is  no  later  than 
1595.  Chorley  does  not  think  that  the  character  of  Decio,  capi- 
gorron,  can  fairly  be  called  a  figiird  del  donayre.  See  Lope's 
Domine  Lucas  and  related  Plays  by  G.  T.  Northup,  Mod.  Lang. 
Rev.  (1909),  462. 

Donaires  (Los)  de  Matico.  —  P.  (El  Matico).  —  I. 

Don  Beltrande  Aragon.  —  P-.  S.  (Holland).  Sec  Las  Miidan- 
:;as  de  la  For  tuna. 

4  Donde  no  esta  su  Dueiio  esta  su  Duelo.  —  Lope  (?)  This 
corned ia  is  attributed  to  Lope  in  Dif.  XXIX,  Huesca,  1634 
(foliation  $8-81),  and  likewise  in  a  suelta  in  the  Bib.  Nac.  See 
my  article  in  Mod.  Lang.  Rev.  (1906),  p.  106.  On  this  siielta 
we  read  :  «  Representola  Prado.  »  In  another  suelta  it  is  ascrib- 
ed to  Guillen  de  Castro,  v.  SchaefFer,  I,  230,  and  Stiefel  in 
Zifl.  XXX,  551.  It  was  represented  before  the  king  by  Hernan 
Sanchez  de  Vargas  on  September  3,  1623.  v.  Mod.  Lang.  Rev. 
(1907),  pp.  331  and  338.  SchaefFer  is  not  sure  that  the  play  is 
Castro's. 


BIBLIOGRAPHY    OF    LOPE    DE   VEGA  1 69 

Don  Diego  de  Noche.  ~  P-.  ;  this  comedia  in  a  MS.  ascribed 
to  Lope  was  in  the  possession  of  the  aiUor  de  comedias  Juan  jero- 
nimo  Ahnella  in  Valencia  in  1628.  v.  H.  Merim^e,  in  Bidl. 
Hisp.  (1906),  p.  378.  In  Escoo.  VII,  this  play  is  ascribed  to  D. 
Francisco  de  Rojas. 

•  Don  Gil  de  la  Mancha.  —  Almost  certainly  not  by  Lope  ;  H. 
cites  it  as  by  Rojas,  to  whom  it  is  also  attributed  by  a  MS.  in  the 
Bib.  Nac.  Cat.  No.  983. 

Don  Gonzalo  de  Cordoba.  —  XXIV,  Zaragoza,  1641  ;  it 
appears  in  the  Vega  del  P.  as  La  mayor  Vitoria  de  Alemania  de 
D.  Gojigalo  de  Cordoiia.  (See  La  niieva  Victoria  de  D.  Gonzalo  de 
Cordoba.^  The  victory  was  won  in  1622,  and  the  autog.  MS. 
(Osuna)  is  dated  October  8,  of  that  year.  Cat.  B.  N.No.  2409. 

Don  Juan  de  Austria  en  Flandes.  —  MS.  copy  (Parma),  with 
a  license  of  October  14,  1606.  v.  Restori,  Una  Colle^.  22-23; 
Acad.  XII .  This  comedia  was  represented  by  Alonso  de  Heredia 
sometime  before  July  29,  1604.  v.  Nuevos  Datos,  354;  and 
the  same  actor  bought  it  in  August  1605  (BuU.  Hisp.  1907, 
372)  paying  350  reals  for  4  comedias  :  El  Rey  Alfonso  el  Cas- 
io, La  Fiindacion  de  la  Orden  de  la  Trinidad,  El  Rey  por  su  Inge- 
nio  and  Don  Juan  de  Austria  en  Flandes.  Roque  de  Figueroa 
represented  Don  Juan  de  Austria  en  Flatides  before  the  king  on 
March  28,  1628.  Mod.  Lang.  Rev.  (1907),  339;  ^tfl.  XXXI, 
498.  This  comedia  is  entirely  different  from  Montalvan's  El 
Senor  D.  Juan  de  Austria. 

Don  Juan  de  Castro,  Parts  I  and  11.  —  P%  ;  XIX  ;  (Parte  II. 
has  the  alternative  title  :  El  Ha^er  hien  a  los  Muertos)  ;  H .  IV.,  373 
and  395.  The  second  part  of  this  comedia  also  appears  in  Parte 
XXV,  with  the  title  Las  Aventuras  de  don  Juan  de  Alar  cos. T\\tvc\s 
no  change  in  the  play  except  two  lines  at  the  end  and  the  changing 
of  the  name  Clarinda  to  Lucinda.iMS.  copy  (Parma)  of  Parts  I  and 
II ;  here  the  second  part  is  also  called  Don  Juan  de  Alarcos.  v. 
Schaeffer,  I,  141.  The  same  subject  is  better  treated  in  El  mejor 
Amigo  el  muerto,  by  Belmonte,  Rojas  and  Calderon.  Schaeffer, 
II,  283. 


170  HUGO    A.    RENNERT 


Don  Lope  de  Cardona.  —  P^  ;  X  ;  MS.  copy  (Osuna  and 
Parma).  Cat.  B.  N.  No.  985;  Rocamora,  No.  506.  It  is  called 
at  the  end:  La  'nijnsta  Pcrscciicion  de  Don  Lope  de  Cardona.  It  is 
the  source  of  Shirley's  The  young  Admiral,  v .  Stiefel,  in  Herri/s 
Archil' (i^oj). 

>  Don  Manuel  de  Souza.  —  M.  (see  El  Naufragio  prodigioso). 
Cf.  Tirsode  Molina's  Escarniicntos  para  el  Cuerdo.  v.  Schack,  II, 
588.  According  to  Fajardo  this  play  is  found  in  a  volume  of 
coniedias  printed  at  Seville. 

Doncella  (La)  Teodor.  —  P\  ;  IX;  S.  (Brit.  Mus.  and  J  .  R. 
C).  MS.  autog.  (Duran)  without  date.  Cat.  B.N.  No.  996. 
[I  doubt  that  this  is  an  autograph.  It  is  unsigned.]  MS.  copy 
(Parma). 

Doncella,  Viuda  y  Casada.  —  M.  ;  S.  (Brit.  Mus.  and  J.  R. 
C.) :  «  de  un  Ingenio  ».  See  Viuda,  Casada,  y  Doncella. 

Doncellas  (Las)  de  Simancas.  —  H.  ;  S.  (Brit.  Mus.  ;  H.  A. 
R.).  Acad.  VII.  This  play  has  no  figura  del donayre.  See  Schaef- 
fer,  I,  184. 

Doiia  Ines  de  Castro.  —  M.  ;  H.  ;  P-.  Doubtful.  The  play  in 
Parte  Hide  Lope  y  otros  is  by  Mejia  de  la  Cerda. 
■f  Dos  Agravios  sin  Ofensa.  —  M.;  H.  ;  S.  (J.  R.  C.  ;  Duran). 
According  to  Fajardo  this  appeared  in  Parte  XXVI,  extravagante, 
Zaragoza,  16.^5.  Chorley  thinks  that  this  play  can  scarcely  be  by 
Lope.  In  the  closing  lines  the  poet  styles  himself  un  ingenio  pri- 
nieri^o.  A  suelta  entitled  Dos  Agravios  sin  Ofensa  was  in  the 
Osuna  collection,  with  Caspar  de  Alarcon's  name  attached  to  it, 
and  he  may,  in  Chorley's  opinion  be  the  real  author.  [No  dra- 
matic writer  with  this  name  is  known.  He  was  probably  the 
copyist,  or  perhaps  an  aiitor  de  coined ias\. 

Dos  (Las)  Bandoleras  v  Fundacion  de  la  Santa  Hermandad  de 
Toledo.  —  This  play  was  first  printed  in  Part  II  of  Do:^e  Conie- 
dias nncvas  de  h^pe  de  Vega  y  otros.  Barcelona,  1630  (La  Bar- 
rera,  p.  707)  ;  Acad.  IX.  Fajardo  gives  the  title  as  Las  Hernianas 
Bandoleras.  «  Representola  Avcndaiio  «.  Ztft.  XXVIII,  231.  See 
Las  Lier mantis  Bandoleras . 


BIBLIOGRAPHY  OF  LOPE  DE  VEGA  I7I 

Dos  (Las)  Estrellas  trocadas  y  Ramilletes  de  Madrid.  —  P'.  ; 
XI;  H.,  IV.,  303. 

Dos  Soldados  (Los)  de  Cristo.  — (See  Barlan  y  Josafa.^  XXIV, 
Zaragoza,  1641. 

V  Duque  de  Alba  (El)  en  Paris.  —  This  play  was  represented 
by  Diego  Lopez  de  Alcaraz  on  February  29,  1606,  Nnevos  Datos, 
p.  94;  and  at  Shrovetide  in  1628  by  Antonio  de  Prado.  Mod. 
Lang.  Rev.  (1907),  339  :  it  seems  to  be  lost. 

*buque(El)  de  Osuna.  —  P^  The  MS.  (B.  N.  Cat.  No. 
2869).  El  Renu'dio  en  el  E?tgaho  (El  Diiqne  de  Osiind)  can  hardly 
be  this  play :  the  second  part  called  Los  Hechos  del  Duque  de 
Osuna  (No.  1479)  shows  that  it  is  a  «  comedia  burlesca  ». 

Duque  (El)  de  Verganza.  —  P-. ;  MS.  copy  (Holland).  See 
El  mas  gnlan  Portugues  :  this  play  also  bears  the  alternative 
title  Injustos  Celos.  «  La  Tragedia  del  Duque  de  Verganza  by  Alvar 
Cubillo  de  Aragon  has  no  relation  whatever  with  this  play 
of  Lope  ».  (M.  y  P.)  :  v.  also  Antologia  de  Poelas  I'lricos,  XII, 
p.  296,  n.  \^  ^^ 

■"T^uquesa  (La)  de  Bretana.  —  See  Mas  vakis  vos,  Antona,  que 
la  Corte  tod  a . 

*Duques  (Los)  de  Saboya.  —  P- .  This  play  was  still  in  exist- 
ence in  the  xviii'^  century,  as  it  is  mentioned  in  the  catalogues 
of  Medel  and  Huerta. 


*E1  no  esperar  a  Maiiana.  —  P-. 

El  Saber  por  no    saber,  y  Vida  de  San  Julian  dc  Alcahi.  - 
XXIII. 

El  Saber puede  daiiar.  —  XXIII;  H.  III.,  113. 

EUo  dira.  —  P^  ;  XII.  MS.  copy  (Parma). 

Embaxador  fingido  (El)  —  M .  ;  H.  (see  Acertar  errando). 

Embustes  (Los)  de  Zelauro.  —  P.  (Enredos  de  Zelauro)  ;  W  ; 
H.  I.,  89.  This  play  has  no  fi gum  del  donayre. 


P- 


172  HUGO    A.    RENNERT 


Embustes  (Los)  de  Fabia.  —  P. ;  P^  ;  XXV.  MS.  copy  (Parma). 
This  play  has  no  fii^ura  del  donayre.  Chorley  notes  that  the  text 
of  Act  III  is  so  corrupt  as  to  be  ahiiost  unintclUgible.  Some 
scenes  appear  to  be  missing,  while  others  are  introduced  awk- 
wardly. The  versification  and  general  style  also  indicate  that  this 
is  an  early  play, 

Emperador  (El)  perseguido.  —  (See  El  gran  Diique  de  Mos- 
covia.^ 

Encomienda  (La)  bien  guardada.  —  (See  La  Buena  Giiarda.^ 
"  Enemigo  (El)  enganado.  —  P. ;  H.  ;  S.  (Duran)  ;  Dif.  XXXII, 
Zaragoza,  1640;  MS.  copy  (Duran),  Cat.  B.  N.  No.  1090.  This 
coiuedia  has  no  Jig  lira  del  donayre  :  Chorley  considers  it  to  be  an 
early  play.  The  siiel la  in  the  Brit.  Mus.  is  a  fragment  (pp.  164- 
208)  oiDif.  XXXII  :  the  MS.  in  the  Bib.  Nac.  was  copied  by 
Duran  from  a  suelta  in  possession  of  D.  Manuel  Casal. 

Enemigos  (Los)  en  Casa.  —  P\  ;  XII.  MS.  copy  (Parma). 
-  Engaiiar   a   quien    engana.   —  H. ;  Osuna,  Tomo    132;    S. 
(Duran);   MS.  copy  (Osuna),  Cat.  B.  N.  No.  420.  The  style  of 
this  play  is  so  extravagant  and  obscure  that  Chorley  inclines  to 
reject  the  ascription  to  Lope. 

-  Engaiio  (El)  en  la  Verdad.  —  P.  ;  H.  ;  S.  (J.  R.  C. ;  Duran; 
Osuna,  Tomo  131.)  «  Representola  Vallejo.  »  MS.  copy 
(Osuna),  Cat.  B.  N.  No.  420.  Rocamora  registers  but  one 
Osuna  MS.  oi El  Engano  en  la  Verdad,  in  his  catalogue,  No. 
528,  in  which  it  is  ascribed  to  Lope.  The  MS.  No.  420  is  the 
same  text  as  the  sueltas.  There  seem,  however,  to  have  been  two 
Osuna  MSS.  with  the  same  title.  The  second  play,  entirely  dif- 
ferent from  the  first  is  found  in  B.  N.  Cat.  No.  1103.  This,  it 
appears,  is  signed  by  Jacinto  Lopez,  who  was  an  actor  and  theat- 
rical manager  about  1636.  —  The  first  play  has  a  Jigura  del 
donayre, 
'  Engaiio  (El)  venturoso.  —  Mes.  Rom.  Doubtful. 

En  la  mayor  Lealtad  mayor  Agravio,  y  Favores  del  Cielo  en 
Portugal.  H. ;  S.  (J.  R.  C.and  Osuna),  According  to  La  Barrera 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  1 73 

this  play  was  printed  in  Parte  XXII,  Zaragoza,  1630,  under  the 
title  La  Lealtad  en  el  Agravio  (fols.  195-217).  It  figures  in  P.  as 
Las  Qtiinas  de  Portugal  :  with  this  title  there  is  also  a  conieilia 
by  Tirso  de  Molina. 

En  los  Indicios  la  Culpa.  —  XXII,  Zaragoza,  1630.  La  Bar- 
rera  (Crt/.  p.  435,  col.  i),  says  that  a  MS.  apparently  an  auto- 
graph (dated  1620),  of  this  coiiiaiia,  formerly  existed  in  the 
Library  of  the  Duke  of  Osuna.  It  must  have  disappeared  before 
1882,  the  date  of  Rocamora's  Catalogue,  for  he  does  not  men- 
tion it.  There  is  a  MS.  copy  at  Parma.  The  suelta  in  the  Brit. 
Mus.  is  a  fragment  of  XXII.  Zaragoza,  1630,  ff.  217-238. 

Enmendar  un  Daiio  a  otro.  —  H.  ;  S.  (Brit.  Mus. ;  Arl. ;  Duran 
and  Parma).  MS.  copy  (Duran)  Cat.  B.  N.  No.  1109.  This  play 
is  so  much  in  the  manner  of  Calderon's  school  that  Chorley 
doubts  the  accuracy  of  the  ascription  to  Lope. 

Enredos  (Los)  de  Benito.  —  GL.  1617,  where  it  is  anony- 
mous. Its  proper  title  is  Las  Biirlas  y  Enredos  de  Benito .  See  the 
note  to  Burlas  de  Amor. 

Enredos  (Los)  de  Celauro.  —  (See  Los  Einbustes  de  Zelauro.) 

Envidia  (La)  de  la  Nobleza.  —  XXIII.  Acad.  XL  (See 
Cegries  y  Bencerrages .^  At  the  end  it  is  called:  Prision  de  los 
Ben:;errages .  Menendez  y  Pelayo  seems  to  have  some  doubt  that 
La  Envidia  de  la  Noble:{a  is  the  same  as  Cegries  y  Bencerragcs . 
The  latter  is  cited  in  P . ,  and  must  be  an  early  play .  Menendez 
says,  speaking  o{  La  Envidia  delaNol)le:ia:  «  Its  style  and  versifi- 
cation, and  especially  the  abundance  of  decimas,  induce  me  to 
believe  that  it  is  much  later  and  that  it  belongs  to  the  poet's  later 
years.  »  Academy,  Vol.  XI.  From  the  forms  of  the  Arabic  names, 
Restori  thinks  this  comedia  (La  Envidia)  later  than  1608,  the 
date  of  the  appearance  of  Bermudez  de  Pedraza's  Aniiguedad 
y  Excelencias  de  Granada,  Madrid,  Luys  Sanchez,  1608  .  Zeiischrift, 
XXX,  216. 

*Envidia  (La)  y  la  Privanza.  —  P.  (See  La  Forluna  niere- 
cida . ) 


174  HUGO    A.    RENNERT 


Esclava(I,a)dcsu  Galan.  — XXV;  H.IL,  ^87.S.(Brit.  Mus. ; 
J .  R .  C .  ;  H .  A  .  R . ) .  There  is  a  re-cast  of  this  called  La  Escla- 
va  par  Amor,  MS.  in  the  Bib.  Nac.  Cat.  No.  1150.  There  is 
a  modern  edition  of  this  play  by  A.  Kressner,  Leipzig,    1889. 

'^Esclava  (La)  de  su  Hijo.  —  P'.  (See  El  Pastor  Soldado.) 
Juan  Jeronimo  de  A\me\h,  alitor  decomedias,  possessed  in  1628, 
in  Valencia,  a  coniedia  entitled  :  La  Esclava  de  su  Hijo.  Bull. 
Hisp.  VIII,  376,  fF.    J^j^-  /v.  JI,  ''^A 

Esclavo  (El)  de  Roma.  —  P.  ;  VIII  ;  Acad.  VI.  MS.  copy 
(Parma).  This  pla}'  has  wo  fignra  del  donayrc .  The  Andronio 
is  ihc  Androcks  of  Aulus  Gellius.  «  La  comedia  vale  poco.  » 
M.  yP. 

Esclavo  (El)  de  su  Hijo  (El  Azote  de  su  Patria).  —  This  play, 
attributed  to  Moreto,  and  published  under  his  name  in  his  Ter- 
cera  Parte,  Madrid,  1681,  and  in  Escog.  XXXI\\  Schaeffer, 
II,  183,  ascribes  to  Lope  de  Vega,  as  it  is  written  wholly  in 
Lope's  style. 

—  Esclavo  (El)  de  Venecia  y  Amante  de  su  Hermana.  — -  Doubt- 
ful. MS.  of  first  half  of  the  xvii  century .  Restori,  Una  Colle^ione, 
p.  24.  One  of  the  personages  in  the  cast  :  Selin,  Gran  Turco 
appears  in  Lope's  coniedia.  La  Santa  Liga  (La  Batalla  Naval). 
Barrera  notes  an  anonymous  play  El  Esclavo  en  Venecia,  a  suelta  (?), 
and  probably  the  above  play. 

-Esclavo  (El)  fingido.  —  M.  ;  H.  ;  Tomo  132  (Osuna)  taken 
from  a  volume  oi  coniedias  (Ji.  171  et  seq  .^  by  Lope  and  others- 
printed  at  Seville  ;  MS.  copy  in  the  Library  of  La  Barrera,  now 
in  Bib.  Nac.  Cat.  No.  11 60. 

*Esclavo  (El)  por  su  Gusto.  —  P.  La  Barrera  thinks  this  may 
be  the  same  as  the  preceding,  but  Chorley  doubts  it. 

Esclavos  (Los)  de  Argel.  —  (See  Los  Cautivos  de  Argel.^ 

Esc]avos(Los)  libres.  —  P. ;  XIII.  The  Moor  Zulema,  though 
valiant,  has  the  part  oia  gracioso.  «  La  hizo  Granados,  gallardo, 
galan,  gcntil  hombre,  y  de  la  tierradelPeregrino  ».  EliPercgrino, 
fol.  263. 


15IBLIOGRAPHY    OF    LOPE    DE  VEGA  I75 

Escolastica  (La)  celosa.  —  P. ;  I.;  MS.  copy  Cat.  B.  N.  No. 
1 1 66.  This  play  has  no  figura  del  donayre. 

*Espada  (La)  pretendida.  —  P-. 

Espanola  (La)  de  Florencia.  —  Ascribed  to  Caldcron  in  Esco- 
gidas  XIL  Stiefel,  Ztft.,  XXXVI,  437,  attributes  it  to  Lope.  See 
above,  under  Bur  las  Vcvas  (3). 

Espaiioles  (Los)  en  Flandes.  —  XIII ;  Acad.  XII .  «  Represen- 
tola  Riquehne  »  v.  Ztft.,  XXXI,   497. 

*Espiritu  (El)  fingido .  —  P . 

Estrella  (La)  de  Sevilla.  —  H.;  S.  (J.  R.  C.  and  Holland;  <  ^^^^  ^  ^ 
H.  I.,  137);  published  in  Boston,  18^2,  the  first  Spanish  co;y/<?^/rt  ^^  y^c^^  <^^v»^ 
printed  in  the  United  States  ;  Acad.  IX.  The  snelta  in  the  Bib.  j  S-^^y^^-^^  7  ' 
Nac.  and  the  one  which  Salva  possessed  (Catdlogo,  I,  p.  548)  //^<^  Joi.-^ 
are  really  portions  of  an  old  volume  of  cow^^/a^  and  are  paged  i'Pa^i^  So\rr^^^ 
ff.  96-120.  Stiefel  believes  that  this  fragment  may  be  a  part  of  /-^-z/J^^r^ 

Extravagantes  XXIX.  Ztjt.  XXX,  554.  There  is,  besides,  at  the  dbo  c^  ^'^  ^' 

Bib.  Palatina  at  Parma  a  genuine  siielta  of  the  close  of  the  xvii  ^i^'^'-^' 

century,  v.  Ztft.  XXVIII,  231:  the  only  copy  in  the  Brit.  Mus. 
is  also  a  genuine  snelta,  which  Chorley  thinks  was  printed  at 
Seville  (?)  about  1650.  The  MS.  of  Za  Estrella  de  Sevilla  in  the 
Imp .  Library  at  Vienna  is  a  modern  copy  of  the  suella,  and, 
hence,  useless  for  the  construction  of  a  better  text. 

Excelente  (La)  Portuguesa,  Dona  Beatriz  de  Silva.  (See  El 
Milagro  por  los  Zelos.) 

_  Exemplo  (El)  de  Casadas,  y  Prueba  de  la  Paciencia.  —  P-, 
Printed  in  Flor  de  Coiiiedias  de  Espana  de  diferentes  autores.  Oiiinta 
Parte,  Alcala,  161 5  ;  Barcelona,  1616.  Chorley  suspects  that  this 
play,  though  not  mentioned  in  P.,  may  have  been  written 
before  the  close  of  the  sixteenth  century.  The  absence  of  the 
figtira  del  donayre  and  (still  more)  the  style  tend  to  confirm  the 
suspicion.  Chorley  notes  the  piece  as  a  very  good  one  of  that 
period.  Schaeffer  (I,  170)  thinks  the  play  was  probably  printed 
from  a  rough  draft  of  Lope's.  It  is  the  story  of  Griselda,  and  is 
founded  on  Boccaccio's  Decamerone,  X,.  lo. 


IjS  HUGO    A.    RENNERT 


Fabula  (La)  de  Perseo.  —  P^  ;  XM  ;  (El  Perseo).  S.  entitled 
La  Bella  Andromeda  {].  R.  C;  Holland  and  Vienna);  Acad.  \l. 

Famosas(Las)Asturianas.  —  P\  ;  XVIII;  MS.  copy  (Parma); 
H.  III.,  465;  Acad.  VII.  V.  Ztft.  XXVI,  490. 

Favor  (El)  agradecido.  —  P. ;  XV;  «  Representola  Vcrgara  ». 
MS.  aiitog^-(?);  First  Act  only  (Duran),  dated  at  Alba  de 
Tormes,  December  19,  1593,  Cat.  B.  N.  No.  i24i.V-  ^ft,  \V 

*Faxardos  (Los).  —  P.  This  may  be  El  Priwcr  Faxardo, 
printed  in  Parte  VII,  but  Chorley  doubts  it. 

Felisarda  (La).  —  XVI.  This  play  Lope  dedicated  to  D.  Juan 
Antonio  de  Vera  y  Zuniga,  Conde  de  la  Roca,  the  falsan'o  of 
the  Centon  Epistolario. 

Ferias  (Las)  de  Madrid.  —  P.  ;  II.  MS.  copy  (Parma).  This 
play  has  no  figura  del  donay)x. 

±.  Fernan  Mendez  Pinto.  —  H.  (Parts  I  and  II).  S.  (J.  R.  C. 
and  Holland).  The  author  of  this  play  is  Antonio  Enriquez 
Gomez  who,  in  the  Prologue  to  El  Sanson  Na:^arcno,  Rouen, 
1652,  gives  a  list  of  his  comedias,  and  observes  that  —  «  a 
todas  ellas,  6  las  mas  que  imprimen  en  Sevilla,  les  dan  los 
impresores  el  titulo  que  quieren,  y  el  dueiio  que  se  les  antoja.  » 
Among  these  are  four  pieces  which  have  been  wrongly  ascribed 
to  Lope  :  (i)  El  Cardenal  Albornoz  (Two  Parts)  ;  (2)  Fernan 
Mendez  Pinto  (Two  Parts)  :  (3)  Las  Soberbias  de  Nembrot;  (4) 
El  Trono  de  Salomon. 

Fe  (La)  rompida.  —  P.  ;  P-.  ;  IV.  This  pla}'  has  no  figura  del 
douayre. 

Fianza  (La)  satisfecha.  —  H.  ;  S.  (Brit.  Mus.  ;  J.  R.  C.  ;  Hol- 
land;  Parma  (Madrid,  Antonio  Sanz,  1745);  H.  A.  R.  \'allado- 
lid,  Alonsodel  Riego).  Acad.  V.  MS.  copy  Cat.  B.  N.  No.  1265, 
attributed  to  Calderon.  This  is  the  Osuna  MS.  In  Rocamora's 
Cat.  No.  583,  it  is  ascribed  to  Lope.  v.  Ztft.  XXII,  282. 

Fingido  (Lo)  verdadero,  San  Gincs  Representante.  —  XVI  ; 


BIBLIOGRAPHY  OF    LOPE    DE    VEGA  1 77 

lead.  IV.  In  the  closing  verses  the  akennitive  title  is  given  as 
7  mejor  Representante.  A  comedia  with  the  same  theme  and  also 
ntitled  Lo  Fingido  verdadero,  is  printed  in  Escog.  XXIX,  as  the 
^ork  of  three  Itigenios  (Cancer,  Martinez  de  Meneses  and 
osete  Nino).  It  is  an  independent  piece,  though  the  second 
;ene  of  Act.  Ill  is  derived  from  Lope's  penultimate  scene, 
'his  play  has  no  figura  del  donayrc.  Salva  (I.  p.  623)  gives  the 
tie  ot  his  suelta  as  El  mejor  Representante,  6  Vida,  Muerte  y 
iartirio  de  S.  Gines.  It  is  ascribed  to  Lope. 

*Firmeza  (La)  de  Leonarda.  —  P. 

Firmeza  (La)  en  la  Desdicha,  y  Agraviado  leal.  —  P-.  ;  XII. 
IS.  copy  (Farina). 

Flores  (Las)  de  don  Juan,  y  Rico  y  Pobre  trocados.  —  P-.; 
Ill;  H.  I.,  409;  MS.  copy  (Parma;  Osuna),  Cat.  B.  N.  No. 
307;  Rocamora,  No.  591.  «  Bellisima  parabola  dramatica  ». 
L  yP.  This  play  is  imitated  by  the  brothers  Figueroa  in  Pohreza 
Imor,  y  Forluna,  Escog.  XIII.  Agustin  de  Rojas,  Viage  entrete- 
ido,  (1603)  p.  97,  mentions  a  play  Los  Amigos  trocados. 

Fortuna  (La)  del  Cielo.  —  (See  En  la  mayor  Lealtad  mayor 
Igravio). 

Fortuna  (La)  merecida.  — XI;  Acad.  IX.  MS.  copy  (Parma) 
nd  Cat.  B.  N.  No.  1318.  According  to  the  closing  verses  this  is 
he  First  Part  only.  [Restori  thinks  that  La  Envidia  y  la  Pri- 
'an:(a  may  well  be  the  Second  Part  of  this  play.  La  Fortuna 
nerecida  is  not  mentioned  in  P\  (1618)  though  Parte  XI  appear- 
d  in  the  same  year.  With  the  same  title  and  also  with  the 
.Iternative  uileoiMerccer  para  alca}t:{arx.heve.  is  a  play  by  Moreto 
;Parte  III,  Madrid,  1681),  v.  Ztft.  XXVIII,  233.  Restori  says  : 
(  Lope  finishes  his  play  promising  a  second  part.  This  should 
;reat  of  the  fall  and  murder  of  the  famous  privado  Alvar  Nuiiez  de 
Dsorio,  and  from  the  concluding  verses  it  appears  that  the  title 
should  be  La  Etieria  de  la  Envidia  or  something  similar.  Now, 
imong  the  inedited  comedias  of  Lope,  or  those  N\hich  have 
been  considered  lost  down  to  the  present  date,  is  La  Envidia 
y  la  Privan^a,  which  may  well  be  this  Second  Part.  » 

rnvUE    HISPAKIQUE.    G.  12 


IjS  HUGO    A.    RENNERT 


Francesilla  (La).  —  P. ;  XIII.  «  Representola  el  famoso  Rios  ». 
In  the  dedication  to  «  el  licenciado  Juan  Perez  [de  MontalvanJ 
en  la  Universidad  de  Alcala  »,  Lope  states  that  this  was  the 
first  play  in  which  the  Jii^iirn  del donayre  was  introduced, adding: 
«  quando  yo  la  escriui  no  auia  nacido  [MontalvanJ.  »  Montalvan 
was  born  in  1602.  Speaking  generally,  those  of  Lope's  pieces 
in  whicii  the  said  fi^iira  does  not  appear  may  perhaps  be  taken 
as  being  written  earlier  than  1594,  and  possibly  even  a  good 
deal  earlier  :  for  in  the  Maestro  dc  daiiiar,  composed  in  1594, 
the  character  of  the  servant  Belardo  suggests  the  gracioso  type. 
At  the  same  time,  though  no  doubt  i\\t  figiira  del  donayre  appears 
in  most  of  Lope's  comedias  subsequent  to  La  Francesilla^  there 
are  notable  exceptions  in  the  case  of  plays  dealing  with  serious 
or  historical  themes.  Among  such  pieces  is  Las  Doncellas  de 
Siniancas  which,  judging  by  the  style,  must  belong  to  a  more 
recent  period,  and  El  Basiardo  Miidarra,  which  was  signed  in 
1 612.  On  the  other  hand,  the  comic  character  appears  in  Los 
Chaves  de  Fillalba(x.he  MS.  of  which  is  dated  1599),  and  again 
in  El  Arenal  de  Sevilla  (which  is  assigned  to  1601).  For  the 
circumstances  attending  the  production  of  Dios  ha~e.  Reyes,  and 
for  the  question  of  the  figitra  del  doiiaxre  in  general,  see  the 
note  p.  132  ff. 

Fray  Diablo  (El  Diablo  Predicador).  —  MS.  copy  (Duran) 
Cat.  B.  N.  No.  1324;  Inedited.  The  MS. 'contains  emendations 
in  the  hand  of  Francisco  de  Rojas.  Signed  by  Diego  de  Anun- 
zibay,  and  dated  October  I,  1630.  Cf.  Rouanet,  El  Diablo  Predi- 
cador, p.  8.  This  latter  play  by  Belmonte  was  represented  in 
1623.  Lope's  play  must  be  earlier  ;  Belmonte's  coined ia  is  an 
imitation  of  Lope's.    ^/f-^LA^.  /V,  jl^    /?(, 

*Fray  Martin  de  Valencia.  —  P. 

*Fregosos  (Los)  y  Adornos.  —  P.  Play  founded  on  the  feuds 
of  tiiese  two  Genoese  families;  on  this  lost  play  of  Lope  is  based 
/:/  Vlcilo  del  Demonio  con  la  Virgen  by  three  wits.  v.  Restori, 
Genimi  nel  Teatro  di  Spagna.  pp.  46,  ff. 


A..!^  roe-  ^-r  ^  ^-/.-ii^^i:^^ 


(jTT^^  i^^ 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  1 79 

Fuente  Ovejuna.  —  P^  ;  XII ;  H.  III.,  633  ;  Jcad.  X.  MS. 
copy  (Parma;  Holland). 

Fuerza  (La)  del  Exemplo.  —  Doubtful.  It  was  represented  at 
Court  by  Antonio  de  Prado  in  February,  1623.  It  was  ascribed 
to  Lope  in  a  collection  of  comedias  possessed  in  Valencia  in 
1628  by  the  aulor  de  comedias  Juan  Jeronimo  Almella.  .v.  Meri- 
mee,  BiiU.  Hisp.  VIII.;    Mod.  Lang.  Rev.U,  341. 

Fuerza  (La)  lastimosa.  —  P. ;  II;  Comedias  nuevas  de  los  mas 
ceJebres  Aiitores.  Amsterdam,  1726  ;  H.  III.,  257;  S.  (Brit.  Mus. ; 
J,  R.  C).  I  have  asnella  :  Libreria  de  Quiroga,  1792  and  also 
the  vol.  of  1726).  MS.  copy  (Osuna),  Cat.  B.  N.  No.  1339  ; 
Rocamora,  No.  602.  This  play  has  no  figiira  del  donayre.  The 
subject  is  the  story  of  the  Conde  Alarcos.  On  this  ballad  is 
founded  the  comedia.  El  Conde  Alarcos  oiT>.  Guillen  de  Castro, 
a  play  with  the  same  title  by  Mira  de  Mescua  (which  is  identical 
with  that  attributed  to  Rojas)  and  El  Valor  perseguido  y  Traicion 
vengada  of  Montalvan  (this  latter  in  the  Osuna  Tomo  132). 
La  Fiter:^a  lastimosa  was  represented  for  the  first  time  by  Bal- 
tasar  Pinedo,  «  maravilloso  entre  los  que  en  Espana  han  tenido 
estc  titulo  ».  El  Peregrino  en  sit  Patria,  fol.  263.  Lope  says  that 
it  was  also  represented  by  the  Spanish  slaves  in  Constantinople. 
V.  Lope  de  Vega,  Obras  sueltas,  VIII,  95  ;  Navarrete,  Vida  de  a  ^  ^  //f^  '^ 
Cervantes,  361.  In  the  Brit.  Mus.  Catalogue  we  read  :  «  Fuerza  ^r-  y^j^^j*  "^^ 
lastimosa  (La),  comedia  famosa.  pp.  63.  [Lisboa,  1647].  »  I  have  ^3^0,.  ^xa>^ 

sought  in  vain  for  any  notice  of  this  volume  elsewhere.  The  J^^.^^-^'^-  ^^^^ 
fragment  in  the  Brit.  Mus.  seems  to  be  the  only  one  known.  T-{yM  'jj^-^iif^ 
It  is  thus  described  :  «  Doze  Comedias  las  mas  gramdiosas  q,ue      j,  j^  /^^?J. 

HASTA    AGRA    HAN   SALIDO    DE    LOS    MEIORES    Y    MAS    INSIGXES    POE-  //7<^f.>^ 

TAS.  Segunda  Parte.  [MS.  note  [by  J.  R.  Chorley].  [Lisboa. 
1647.]  4°.  11728.  h.  9  (13).  Imperfect:  wanting  all  before 
p.  265,  ))  V.  Menendez  y  Pelayo,  Antologia  de  Poetas  liricos, 
XII,  p.  539. 

Fundacion(La)dela  Alhambra  de  Granada.  —  (In  Seis  Come- 
dias de  Lope  de  Vega  y  otros,  Lisboa  and  Madrid,  1603;  MS.  copy 


l80  HUGO    A.     RHNNERT 


Cat.  B.  N.  No.  895  and  1341.  Choiiey  does  not  think  that  Lope 
is  the  author. 

Fundacion  (La)  dc  hi  Santa  Hermandad  de   Toledo.  —  (See 
Las  dos  Bandokras). 


*Galan  (El)  agradecido.  —  P.  «  La  hizo  Villegas,  celebrado 
en  la  propicdad,  afectos  y  efectos  de  las  figuras  ».  El  Peregrino, 
fol.  263. 

Galan  (El)  Castrucho.  —  P.  ;  IV.  P.  (El  Rufian  Castrucho.) 
This  play  has  vxofiguro  del  donayrc. 

Galan'(El)  de  la  Menhrilla.  —  P^  ;  X  ;  Acod.  IX.  MS.  autog. 
Brit.  Mus.,  dated  at  Madrid,  April  20,  1615,  with  a  license  at 
Madrid,  May  18,  161 5.  Lcopied  this  autograph  MS.  many  years 
ago.-The  variaius-*Fe=few.  MS.  copy  (Parma). 

Galan  (El)  de  Meliona.  —  Mes.  Roman.  (See  El  Hainete  de 
Toledo). 

^Gahn  (El)  escarmentado.  —  P.  /froV-  ^  -^  ^<^ 

*Galan(El)  Mendoca.  —  P^ 

Galiana  (La).  —  P.  (Very  probably  Los  Palacios  de  Galiana, 
q.  v.). 

Gallarda  (La)Toledana.  — XIV,  «  Representola  Granados  ». 
This  play  has  no  fignradel  donayre. 

Gallardo  (El)  Catalan.  —  II  ;  S.  (J.  R.  C.  and  Holland)  ; 
Acad.  VIII.  (See  El  valeroso  Catalan).  This  piece  has  a  figtira 
del  donayre.  It  was  played  by  Pinedo  in  the  Sala  de  Aynnla- 
miento  of  Toledo  at  the  festivals  to  celebrate  the  birth  (April  8, 
1605)  of  Philip.  IV.  v.Ztfl.  XXVI,  514. 

Gallardo  (El)  Jacobin.  —  P-.  This  may  be  a  misprint  for  El 
gallardo  Ja:jmin.  —  Restori  x.\\\nks  El  gallardo  Jacobin  may  be  a 
different  play  and  may  be  founded  on  the  murder  of  Henri  III 
on  July  30,  1589,  by  Giacomo  Clement.  Ztji.  XXX,  217  ;  but 
see  Acadeniia,  VI,  p.  cxl. 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  I  .S I 

Gallardo  (El)  Jazimin.  —  M.  ;  H.  ;  (El  Hidali^o  Abencerraje.) 
Under  the  latter  title  it  appears  in  Parte  XVII  of  Lope  ;  MS. 
copy  (Osuna),  Cat.  B.  N.  No.  1358,  with  the  double  title. 
Rocamora,  No.  608.  v.  FJ  Hidal^^o  Aboiccrraje. 

*Ganso  (El)  de  oro.  —  P.  The  fable  of  Jupiter  and  Leda. 
Z///.  XXIII,  451.    A^ol4.  ^,J',    /^O, 

Garcilaso  de  la  Vega.  —  P.  See  the  note  to  El  Cerco  de  Santa 
Fe,  the  MS.  copy  of  which  (says  La  Barrera)  difTers  from  Fl 
Cerco  de  Santa  Fein  Parte  I,  «  y  el  original  ineditode  aquella  «. 
(See  Hechos  de  Garcilaso  de  la  Vega.)  [I  know  of  no  MS.  copy 
of  El  Cerco  de  Santa  Fc,  nor  do  I  know  whence  Chorley  took 
this  information.  La  Barrera  once  possessed  a  MS.  copy  of  Los 
Hechos  de  Garcilaso  de  la  Vega. 

.  Gata  (La)  de  Mari-Ramos(El  Jardin  de  Vargas).  —  M.  (anon)  ; 
S.  (Duran);  MS.  copy  (Duran)  of  first  two  Acts.  Cat.  B.  N. 
No.  1374. 

Ginoves  (El)  liberal.  —  P^  ;  IV.  For  the  historical  incident 
on  which  this  play  is  founded  «  la  famosa  soUevazione  dclle 
Cappette  nel  Marzo  1507  »,  v.  Restori,  Genova  nel  Teatro  classico 
diSpagna,  p.  42,  and  p.  46,  note  3. 

*Ginobesa  (La).  —  P.    Restori  shows  that  this  play  is    iden- 
tical with  La  Cortesia  de  Espaha,  q.  v.  ,       xi-H  '•-  •  '-' 
>  Gloria  (La)    de   Napoles.  —  Mes.    Rom.    (ano>H.)  Doubtful. 
Medel  cites  it  as  anonymous. 

''^Gloria  (La)  de  San  Francisco.  —  H.   This  play  seems  to  be 
lost.  (See  Fl  Serafin  hiimano).  v.  Ztft.  XXII,  292. 

*Gobernadora  (La).  —  P. 

*Godo  (El)  ilustre.  —  P^ 

Gonzalo  (Don)  de  Cordoba.  —  (See  La  nueva  Victoria  de  D. 
Gonial 0  de  Cordoba). 

Gran  (El)  Capitan  de  Espaiia.  —  xM  ;  H.  quotes  a  play  of 
this  title  by  Aguayo,  but  this  is  a  slip  :  he  has  accidentally 
transposed  the  order  of  the  titles  as  given  by  Medel.  See  Cat. 
B.  N.  No.  1408.  This  play  is  not  identical  with  Lope's  Mayor 
Vitoria  de  Alemania,  as  Duran  conjectures.  ^/^.^^^iV-    /^-  -^  1  -^  ^  ^- 


1 82  HUGO    A.    RENNERT 


Gran  (El)  Cardenal  de  Espaiia,  D.  Gonzalo  de  Mendoza  (Gran 
Cardenal  D.  Pedro  Gonzalez  de  Mendoza).  Fajardo  gives  this  as 
being  in  Parte  V.  published  at  Seville.  See  Life  of  Lope,  p.  474. 

Gran  (La)  Columna  fogosa  :  San  Basilio  el  Magno.  —  MS. 
copy  (Duran;  Holland) ;  Cat.B.  N.  No.  1412,  containing  orig- 
inal Aprobacioms,  dated  Plasencia,  1629.  Acad.  IV.  v.  Ztft. 
XXII,  275. 

Grandezas  (Las)  de  Alejandro.  — XVI ;  Acad.  VI  :  «  desatinada 
pieza».  M.  yP.  v.  Ztft.  XXIII,  451. 

Gran  Duque  (El)  de  Moscouia,  \  Emperador   perseguido.  — 
P-.  ;  VII;  H.  IV.  225  ;  Acad.  VI.   This  coiiiedia  was  copied  in 
Orche  (Province  of  Guadalajara),  in  1613.    Bull.  Hisp.  (1907), 
p.    378.   It  was  represented    towards  the  close  of  16 14   at  the 
•  ^eLV"*     beatification  of  St^  Theresa  de  Jesus.  Bibl.  Madrilena,  II,  p.  358. 
<^  «  The  Emperor  known    by  the  name  of    the    false  Demetrius 

<^V  appeared  in  Poland  in  1603  and  was  killed  in  Moscow  in   1606. 

We  are  unable  to  fix  the  date  of  the  representation -of  the  play, 
but  it  must  have  been  considerably  earlier.  At  the  time  Lope  was 
writing  this  play  the  news  of  the  death  of  the  protagonist  had 
not  yet  reached  Spain.  »  M.  y  P.  AcaJ.  VI,  cxxxiii.  El  Principe 
perseguido  by  Luis  de  Belmonte,  Moreto  and  D.  Antonio  Mar- 
tinez, is  a  re-cast  oi  El  gran  Duque  de  Moscouia.    V-    )  ^~F^,  // ^  * 

*Gran  (La)  Pintora.  —  P.  ;  M.  gives  this  comedia  as  by 
Villegas. 

Gran  (El)  Prior  de  Castilla.  —  (See  El  Hijo  de  la  Molinera, 
y  el  Aldegikla).  r   zn 

/*Grao  (El)  de  Valencia.  —  P.     A^<^.  M  -i,   ^''^^ 

Guanches  (Los)  de  Tenerife,  y  Conquista  de  Canaria.  —  P-. 
(Conquista  de  Tenerife).  M.  and  H.  give  the  play  with  the  title 
of  Nuestra  Sehora  de  la  Candelaria.  X;  Acad.  XI.  MS.  copy 
(Parma).  There  is  a  MS.  with  the  title  Nuestra  Sehora  de  la 
Candelaria  in  the  Bib.  Nac.  Cat.  No.  2398,  but  is  an  entirely 
diff'erent  play.  v.  Ztft.  XXX,  228. 

Guante  (El)  de  Dona  Blanca.  —  H. ;  Vega  del  P. ;  Dif.  XXX 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  1 83 

(Zaragoza,  1636  :  reprinted  in  Seville  in  1638  by  Andres  Grande 
V.  Ztft.  XV,  22_j)  ;  Dif.  XXIX  (Valencia,  1636)  ;  XLI\'  (Zara- 
goza, 1652;  Obms  suelt.  IX;  H.  II.,  17;  Acad.  IX.  MS.  copy 
Cat.  B.  N.  No.  1429.  According  to  Fajardo  this  play  was 
printed  in  Parte  V.,  published  at  Seville.  «  This  delightful 
comedia  must  be  one  of  the  latest  of  Lope  »  M.  y  P.  See  also 
Restori  Ztjt.  XXVIII,  233.  It  is  one  of  the  best  written  in 
Lope's  repertory  and  Dieze  (trans,  of  Velazquez,  p.  333)  says 
that  it  also  bears  the  title  Lo  que  puede  Lope,  and  that  in  it 
Lope  observes  all  the  rules  of  the  theatre. 

Guardar  y  guardarse.  —XXIV,  Zaragoza,  1641  ;  H.  II.,  385  ; 
MS.  copy  (Osuna).  Cat.  B.  N.  No.  1433  ;  Rocamora,  No.  626. 

*Guelfos  y  Gibelinos.  —  P.  H.  notes  a  play  of  this  name  by 
Malaspina  ;  it  is  the  alternative  title  of  his  comedia  :  La  Fuerxfi 
de  la  Ferdad,  Escog.  XIV.  This  latter  is  an  imitation  of  El  Diablo 
Predicador.  Schaeffer,  II,  267. 

*Guerras  Ciuiles  (Las).  —  P.  [De  Granada?  In  any  event  it 
must  differ  from  La  Envidia  de  la  Noble:ya,  which  is  cited  in  P. 
with  its  primitive  title  Cegries  y  Bencerrages]. 

Guerras  de  Amor  y  Honor.  —  H.  ;  S.  (Brit.  Mus. ;  Arl.; 
Duran  and  Parma).  It  is  stated  in  the  closing  verses  that  this  is 
the  First  Part.  Salva  possessed  an  ancient  siielta,  declaring  : 
«  Representola  Prado  ». 

*Guia  (La)  de  la  Corte.  —  P\  ;  M.  ;  H. 

Guzmanes  (Los)  de  Toral.  —  P.  ;  (o  Como  ha  de  usarse  del 
Bien  y  ha  de  prevenirse  el  Mai),  published  by  Dr.  Antonio 
Restori,  Halle,  1899.  Restori  thinks  that  the  play  was  written  in 
the  last  decade  of  the  XVI  century.  Ztft.  XXX,  p.  228. 

H 

Halcon  (El)  de  Federico.  —  P\  ;  XIII  ;  «  Representola 
Riquelme  ».  Reprinted  by  R.  Anschiitz,  Boccaccio's  Novelle  vom 
Falken,   etc.,  Erlangen,  1892.  El  Halcon  de  Federico  is  founded 


184  HUGO    A.    RENNERT 


on  Boccaccio's  Dec.  V.  9.  The  same  subject  is  treated   by  Tirso 
de  Molina's  Palabras  y  Plumas. 

Hamete  (El)  de  Toledo.  —  P^  ;  IX.  Mes.  Rom.  gives  El 
Galan  de  Meliona  as  the  alternative  title  of  this  play.  Another 
Hamete  de  Toledo,  entirely  different  in  substance,  bears  the  names 
of  Belmonte  and  Martinez.  Escog.  I.  There  is  also  a  comedia 
hiirlesca  of  the  same  title  by  «  tres  ingenios  »  in  Escog.  XLI. 
-V  Haxanas  (Las)  del  Cid,  y  su  Muerte,  con  la  Toma  de  Valen- 
cia. —  Printed  at  Lisbon  and  Madrid,  1603  ;  MS.  copy.  Cat. 
B.  N.  Nos.  895,  1476.  Published  by  A.  Hiimel,  Halle,  1910.  It 
is  certainly  not  Lope's. 

Hazer  bien  a  los  Muertos.  —  (See  Don  Juan  de  Castro, 
segunda  parte). 

Hechicera  (La)  de  Argel.  —  (See  La  mayor  Desgracia  de 
Carlos  v.). 

Hechos  (Los)  de  Bernardo  del  Carpio  (See  El  Casamiento  en 
la  Muerte.). 

Hechos  (Los)  deGarcilaso  de  la  Vega  y  Moro  Tarfc.  —  Acad. 
XI;  MS.  copy,  in  Bib.  Nac.  Cat.  No.  1477.  See  Life  of  Lope, 
p.  96.  Restori  doubts  whether  this  be  the  earliest  comedia  of 
Lope  extant  :  until  better  proof  be  furnished,  this  honor 
belongs  to  El  Verdadero  Amante.  v.  Ztjt.  XXX,  220 ;  Stiefel,  in 
Jahresbericht,  VII,  II,  234. 
^  Hermanas  (Las)  Bandoleras.  —  Salva  (I,  p.  608)  possessed  an 
ancient  siielta  of  this  comedia  bearing  Lope's  name.  He  says  : 
«  It  is  not  in  the  Partes.   » 

*Hermano  (El)  Francisco.  —  P-.  (El  Rustico  del  Cielo  ?). 
This  play  was  in  the  possession  of  Caspar  de  Porres,  aiitor  de 
comedias,  in  May,  1605.  Nuevos Datos,  p.  90. 

Hermosa  (La)  Alfreda.  —  P.  ;  (La  Hermosura  de  Alfreda); 
IX.*"  MS.  copy  (Parma).  This  play  has  no  fgura  del  donayre.  It 
was  in  the  possession  of  Caspar  de  Porres,  autor  de  comedias  on 
March,  20,  i6or.  Nuevos  Datos,  p.  53. 

The  play  that  bears  this  title  in  the  Indice  of  Medel    is  ascrib- 


BIBLIOGRAPHY  OF  LOPE  DE  VEGA  185 

ed  to  Calderon,  notwithstanding  the  assurance  ot  Vera  Tas- 
sis  that  Calderon  did  not  write  it.  It  is  Lope's  Las  dos  Bandolcras, 
reprinted  in  Academy,  IX.  Schaefter  says  this  play  served  as  a 
model  for  the  comedia  of  Matos  and  Villaviciosa  :  A  Jo  que 
obliga  unAgravio,  y  las  HeiDianas  Baiidoleras.  Geschichte,  I,  133. 
See  also  Las  dos  Bandolcras. 

Hermosa  (La)  Ester.  —  (La  Soberbia  de  Aman  y  Humildad 
de  iMardocheo).  —  P^  ;  XV  ;  «  Representola  el  famoso  Sanchez 
con  notable  autoridad  y  aplauso.  »  Acad.  Ill;  MS.  autog.  {I^a 
bella  Ester)  Brit.  Mus.,  dated  April  5,  1610  ;  the  S.  (Holland 
and  Duran)  with  the  title  :  La  Horca  para  su  Duehois  by  Godinez  : 
there  is  said  to  have  been  an  autog.  MS.  of  it,  signed  by 
Godinez,  in  the  Osuna  Library.  See  Rocamora,  No.  11 15, 
where  it  bears  the  title  Lat  Reina  Esther.  In  the  Cat.  B.  N.  No. 
2849,  we  are  told  that  it  is  written  in  various  hands,  and  is 
dated  16 13. 1  possess  a  suella  entitled  :  Aman  y  Mardogueo,  por 
otro  titulo  La  Horca  para  su  Diieno,  Valencia,  1777.  It  is 
ascribed  to  Doctor  Don  Felipe  Godinez.  Fowi>e^'/,  /7/-  /f-^- 

Hermosa  (La)  Fea.  —  XXIV,  Zaragoza,  1641  ;  H.  II.,  349; 
S.  (Brit.  Mus.  and  J.  R.  C.;  H.  A.  R.)  It  was  represented  at 
Valencia  by  Cristobal  de  Avendaiio  before  April  26,  1632.  Mod. 
Lang.  Rev.  Ill,  43. 
^  Hermosa  (La)  Florinda.  Comedia  ascribed  to  Lope  in  the  pos- 
session of  Juan  Jeronimo  Almella  in  Valencia  in  1628.  Merimee, 
in  Bull.  Hisp.  VIII,  378.  The  play  seems  otherwise  unknown. 
Doubtful. 

*Hermoso(El)  Peligro.  —  A  comedia  mentioned  in  a  letter 
(without  date ;  1628-30?)  by  Lope  to  the  Duke  of  Sessa.  La 
Barrera,  Nueva  Biog.  648. 

Hermosura  (La)  aborrecida,  y  Desdichada  firme.  —  P- ;  VII  ; 
MS.  copy  Cat.  B.  N.  No.  1491.  According  to  the  closing 
verses,  this  is  the  First  Part. 

*Hero  y  Leandro.  —  P.  The  only  known  play  with  this 
title  is  by  Mira  de  Mescua. 


1 86  HUGO    A.    RENNERT 


Hidalgo  (El)  Abencerraje  (El  Hidalgo  Jacimin).  —  XVII  ; 
Acad.  XI.  MS.  copy  (Osuna)  entitled  El  gallardo  Jaciiiiiii  y  el 
Hidalgo  Abencerraje,  Cat.  B.  N.  No.  1358  (Rocamora,  No.  608. 
MS.  copy  (Parma)  with  title  El  Hidalgo  Aheuceiraje.  M.  notes 
El  gallardo  Jacimin.  This  is  probably  meant  for  El  gallardo 
Jacobin,  given  in  P' .  Restori  says  :  «  this  second  title,  El  gallar- 
do Jacimin,  leads  La  Barrera  and  Menendezy  Pelayo  to  conjecture 
that  it  maybe  the  same  play  cited  in  the  Peregrino  of  1618  (P-  ) 
with  the  title  El  gallardo  Jacobin.  The  old  conjecture  of  Schack 
(III,  90)  has  always  better  pleased  me,  that,  in  El  gallardo 
Jacobin  the  subject  treated  is  entirely  different  from  that  of  the 
chivalrous  Abencerraje  Jacimin  ;  that  it  treats  of  the  young 
Jacobin  Giacomo  Clement,  who  assassinated  Henry  III  on  July 
30,  1589.  »  Ztft.  XXX,  217  ;  hut  see  Acad.  VI,  p.  cxl. 
Hidalgos  (Los)  del  Aldea.  — P^;  XII.  MS.  copy  (Parma). 
Hierros  (Los)  porAmor.  —  S.  (J.  R.  C.  and  Duran).  Mcdel 
gives  the  title  as  Yerros  por  Amor. 

Hijo  (El)  de  la  MoHnera,  y  el  gran  Prior  de  Castilla.   (Mas 
mal  hay    en    la  Aldegiiela  de   lo  que    se  suena) .   Escog.  XWI, 
under  the  name  of  Francisco  de  Villegas,  with  only  the  first  title. 
The  play  is  by  Lope.  See  El  Aldegiiela. 
*Hijo(El)del  Olmo.  —  P\ 

Hijo  (El)  de  los  Leones.  —  XIX;  S.  (Brit.  Mus. ;  Arl.);  H. 
II.,  217.  See  Restori,  Una  Colleiione,  p.  13.  At  Parma  there  is 
an  ancient  suelta  s.  1.  n.  a.  and  one  of  Madrid,  1730;  Salva,  I, 
p.  609. 

Hijo  (El)  de  Reduan.  —  P.  ;  I ;  Acad.  XL  This  play  has  no 
figiira  del  donayre.  v.  Ztft.  XXX,  217. 

*Hijo  (El)  de  si  mismo.  — P.;  P-.  Chorley  does  not  think 
that  this  can  be  El  Hijo  sin  Padre.  In  fact  both  coniedias  are 
registered  in  P^ . 

>-  Hijo  (El)  piadoso  y  Bohemia  cqnvertida.  —  M.  ;  H.  Fajardo 
states  that  this  play  was  in  the  volume  of  Comcdias  by  Lope 
and  others,  published  at   Seville.  La  Barrera  originally  asserted 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  1 87 

that  a  fragment  of  the  volume,  containing  this  piece,  was  in 
the  Osuna  collection  (Tomo  132),  but  this  appears  to  he  a 
mistake.  See  the  contents  of  these  Tomos  colecticios,  pp.  36-37. 

Hijo  (El)  porEngaiio.yToma  de  Toledo.  — M.  ;  H.  (anon.); 
printed  in  Dace  Coinedias  nneva^  dc  Lope  yotros  A 11  lores :  Scginidn 
Parte.  Barcelona,  1630.  (La  Barrera,  p.  709)  ;  Acad.  VIII  ;  MS. 
copy,  with  the  additional  title  :  v  Rey  don  Alfonso  de  la  Mano 
horadada.  Cat.  B.  N.  No.  1522.  In  the  opinion  of  Men^ndez  y 
Pelayo,  this  cotiiedia  may,  at  most,  be  a  re-cast,  barbarously  done, 
of  Lope's  El  Cerco  de  Toledo  (p.  xxxii).  On  the  other  hand  Res- 
tori  says  that  this  comedia  is  the  work  of  Lope  and  not  a  later 
re-cast,  as  Menendez  suspects,  v.  Ztft.  XXVI,  509;  La  Barrera, 
Cat.  578. 

Hijo  (El)  sin  Padre.  —  ?-.;  Nicolas  Antonio  says  that  this 
play  was  in  Parte  XXIV,  Madrid,  1640  ;  S.  (J.  R.  C.  and 
Vienna).  MS.  copy  (Duran),  Cat.  B.  N.  No.  1525.  This  is  evi- 
dently a  different  play  from  El  Hijo  de  si  misnio,  as  indeed, 
Chorley  had  observed.  Both  plays  are  given  jn  the  list  of  P^ 

*Hiio(El)  venturoso.  —  P.    ^^'    M,^/  ^^/, 

*Historia  (La)  de  Maragatos.  — M.;  H. ;  Fajardo  alleges  that 
this  play  was  printed  in  Parte  V  of  Lope  and  others,  published 
at  Seville.  M.  and  H.  both  give  the  last  word  of  the  title  as 
Ma:^agatos,  but  this  is  probably  a  mis-print.  Cf.  the  Second  Act 
oi  El  Pleyto  por  la  Honra,  where  in  the  antepenultimate  scene, 
the  servant  asks  : 

I  Si   ha  de  aver 
la  de  Maragatos  ? 

Historia  (La)  de  Tobias.  —  P-. ;  XV;  «  Representola  Ri- 
quelme  ».  Acad.  III. 

Hombre  de  bien  (El).  —  P\  ;  VI ;  H.  IV.,  187.  S.  (Brit.  Mus. ; 
J.  R.  C.)    i^FF,    /f/i  r   -^^f- 

Hombre  (El)  por  su  Palabra.  —  P'.  ;  XX. 

Honor  (El)  en  el  Agravio.  —  (See  La   Leal  lad  en   Traycion.) 


1 88  HUGO    A.    RENNERT 


Honra(Li)por  la  Muger.  —  XXIV,  Zaragoza,  1633  ;  S.  (J. 
R.C.;  Munich).  MS.  copy  (Parma;  Holland  ;Osuna):  Cat.  B.  N. 
No.  1543 ;  the  latter  copy  was  made  in  1622.  Rocamora,No.  662. 
Paz  y  M^lia  alleges  that  it  is  not  contained  in  the  above  edition 
of  Zaragoza,  1633  ;  nevertheless,  I  find  it  in  my  copy  of  that 
edition. 

Honrado  (El)  con  su  Sangre.  —  According  to  Nicolas  Antonio 
this  play  was  in  Parte  XXIV,  Madrid,  1640.  A  5//^//^  of  this 
title  in  the  Osuna  library  bore  Claramonte's  name.  It  is  likely 
to  be  a  re-cast  —  perhaps  of  Lope's  play. 

Honrado  (El)  Hermano.  —  P\  ;  XVIII;  Acad.  VI.  MS.  copy 
(Parma).  This  play  has  no  fioura  del  donayre.  Chorley  classes  it 
as  an  early  composition,  v.  Stiefel,  in  Ztft.  XXIX,  333;  and 
Ibid.  XXX,  p.  332.  Menendez y  Pelayo  thinks  it  the  same  play 
that,  under  the  title  oi  Los  Horacios,  is  cited  in  the  first  list  (P.) 
of  the  Peregrino.  It  is  also  reprinted  in  Ochoa.  Tesoro  del  Tealro 
Espaiiol,  Pans,  1838,  Tomo  11^  515  :  see  also  Restori,  Ztfl., 
XXII,  452. 

*Honrado  (El)  Perseguido.  —  P^ 

*Horacios  (Los).  —  P.  It  is  probably  El  honrado  Hermano. 

Horca  (La)  para  su  Dueno.  —  (See  La  hennosa  Esler).  S. 
(Duran  and  Holland.)  The  coniedia  was  copied  in  Orche  (Prov- 
ince of  Guadalajara)  in  1613.  Bull.  Hisp.  (1907),  378. 

Huelfos  y  Gebelinos.  —  P.  (See  Guelfos  y  Gibelinos). 

Humildad  (La)  de  Mardoqueo.  P.  (See  La  hennosa  Ester.) 

Humildad  (La)  y  la  Sobcrbia.  — P.- ;  X;  MS.  copy  (Holland; 
Parma).  The  play  bears  this  title  in  the  Tahla,  but  in  the  body 
ot  the  volume  it  is  headed  El  Trinnfo  dc  la  LIuntildad  v  Soherbia 
abatida. 

I 

Ilustre  (La)  Fregona,  y  Amante  al  uso.  —  XXIV  ;  Zaragoza, 
1641.  The  MS.  of  this  play  in  the  Osuna  Library  is  ascribed  to 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  1 89 


Lope  in  Rocamora's  Cat.  No.  671.  Paz  y  Melia,  however,  says 
{Cat.  B.  N.  No.  1570)  that  the  Osuna  MS.  is  a  burlesque  upon 
Lope's  play,  and  that  it  is  by  Canizares  —  Lope's  comedia  was 
written  before  April,  163 1,  for  Castillo  Solorzano  mentions  it  in 
Las  Harpias  de  Madrid,  saying  that  it  was  represented  by  «  la 
mayor  coraica  que  ahora  se  conoce,  que  es  Amarilis  ».  i.  e. 
Maria  de  Cordoba.  Edition  of  Madrid,  1907,  p.  84. 

Ilustre  (La)  Hazana  de  Garcilaso  de  la  Vega.  —  (See  El  Cerco 
de  Santa  Fe.^ 

Imperial  (La)  de  Oton.  —VIII ;  Acad.  VI.  MS.  copy  (Parma). 
«  Este  drama  contiene  bellezas  de  primer  orden  »  M.  y  P.  v. 
Zlft.  ,452.  f  3n^/!>«  eA',/"  ^f^  7S-- 

*Imperial  (La)  de  Toledo.  —  P. 

*Imperio  (El)  por  Fuerza.  —  P-. 

Imposible  (El)  mayor.  —  P-.  (See  El  mayor  Imposible). 

*Inclinacion  (La)  natural.  —  P. 

infanta  (La)  desesperada.  —  P.     /ir^<^>  ^-  ^J~,   <'^y, 

*Infanta  (La)  Labradora.  —  P. 

Infanzon  (El)  de  Illescas  :  El  Rey  don  Pedro  en  Madrid.  — 
Printed  in  Dou  Coinedias  de  Lopey  otros  Autores,  Barcelona,  1630. 
La  Barrera  says  that  this  comedia  likewise  appeared  in  Parte 
XXVIl  (extravagante,  Barcelona,  1633,  under  the  name  of  Lope; 
but,  as  Chorley  points  out,  this  Parte  does  not  now  exist.  (Catd- 
logo,  p.  682).  It  survives  only  in  fragments,  and  El  Infanzon  de 
Illescas  is  not  among  the  fragments  which  have  been  saved.  At 
the  end  of  a  copy  of  Parte  XVII  (1621)  that  belonged  to  Tieck 
(now  in  the  Berlin  Library)  El  Infan:^on  de  Illescas  is  substituted 
as  the  twelfth  play  in  place  of  El  Hidalgo  Abencerraje.  It  was 
also  printed  in  Comedias  de  Calderon,  Parte  V,  Barcelona,  A.  de 
la  Caballeria,  1677,  where  it  occupies  the  fifth  place  (La  Barrera. 
Cat.,  p.  52).  This  is  one  of  the  Partes  falsely  ascribed  to  Calde- 
ron, which  he  himself  rejected.  A  MS.  copy  of  this  play,  ascrib- 
ed to  Gabriel  Tellez  (?)  is  given  in  the  Cat.  B.  N.  No.  1593, 
with  a  license  dated  Zaragoza,  December  30,   1626.  This  is  the 


190  HUGO    A.    RENNERT 


version  published  in  Academy  IX.  It  is  interesting  to  note  that 
tliis  copy  was  made  for  Juan  Acazio  Bernal  y  Bergara,  a  well- 
known  alitor  de  comcdias .  According  to  Restori,  the  play  is  earlier 
than  1 61 8,  since  it  contains  a  flattering  allusion  to  the  Duke  of 
Lerma,  whose  fall  occureJ  in  that  year.  See  the  important  article 
of  Prof.  Restori,  who  gives  all  the  variants  of  the  volume  of  Bar- 
celona, 1677,  in  Zeilschrift  XXIX,  p.  105,  ft'.;  'd.  also:  Comc- 
dias de  Tirso  de  Molina,  ed.  Hartzenbusch  (Bib.  de  Aiit.  Espaho- 
les),  p.  716,  and  Academy.  IX,  p.  cxlii.  There  is  likewise 
a  suelta  containing  many  variant  readings  in  the  Munich 
Librarv  :  v.  Stiefel,  Ztft.  XXXI,  476  where  it  is  attributed  to 
Calderon.  Concerning  the  MS.  of  1626  in  the  Bib.  Nacional, 
mentioned  above,  my  friend,  the  late  Sr.  Menendez  y  Pclayo 
(whose  kindness  to  me  I  can  never  forget)  wrote  to  me  years 
ago :  «  No  es  exacto,  a  pesar  de  lo  que  dice  el  indice  impreso, 
que  el  manuscrito  de  El  Infan:{on  de  Illescas,  que,  procedente  de 
la  Biblioteca  de  Osuna.  paro  a  la  Nacional,  atribuya  la  comedia 
a  Gabriel  Tellez  (siendo  de  advertir,  por  otra  parte,  que  jamas 
el  Maestro  Tirso  uso  su  nombre  verdadero  en  las  comedias  pro- 
fiinas).  En  ese  manuscrito,  formado  por  la  union  de  otros  dos, 
la  pieza  esta  atribuida  a  Andres  de  Claramonte.  Con  nombre  de 
Tirso,  no  se  conoce  manuscrito  alguno  de  dicha  comedia,  mas 
que  un  moderno  que  Hartzenbusch  dice  que  vio  ».  Lope's  play 
is  closely  followed  by  Moreto,  in  his  El  valieiilc  Jiisticiero  {El 
Ricohombre  de  Alcahi.)  «  Moreto  debe  a  Lope  absolutamente 
todas  las  bellezas  historicas  del  Ricohombre  de  Alcald.  »  M.  y  P. 
Acad.  VII,  p.  clxxxv. 

Ingratitud  (La)  vengada.  —  P.;  XI\';  «  Representola  Osorio 
el  autor  antiguo  ».  Cervantes  mentions  this  play,  Don  Quixote, 
I,  Cap.  xlviii. 

Ingrato  (El).  —  According  to  Nicolas  Antonio  this  play  was 
in  Parte  XXIV,  Madrid,  1640.  S.  (Brit.  Mus.,  and  J.  R.  C.) 
with  Calderon's  name. 

Ingrato  (El)  Arrepentido.  —  M. ;  P. ;  XV.  «  Representola 
Rios  ».  This  play  lias  no  Ji}^iira  del  donayrc. 


BIBLIOGRAPHY  Or    LOPE    DE    VEGA  1*^1 

Iniusta(La)  Venganza.  —  (See  La  Corona  de  Uiigria.) 

Inobediente  (El).  —  (See  La  Cittdad  de  Dios.') 

Inocente  (La)  Laura.  —  XVI;  H.  IV.,  475.  The  closing  ver- 
ses of  tiiis  play  disclose  an  alternative  title  :  Las  Traycioncs  de 
Ricardo.  The  alusion  ot  Lope  to  himself  {Belardo)  in  this  play 
(Act  III,  Sc.  III.)  are  very  curious. 

Inocente  (La)  Sangre.  —  XIX;  H.  IV.,  349;  Acad.  IX.  MS. 
copy  (Parma).  In  the  dedication  and  in  the  closing  verses  the 
alternative  title  is  given  as  Los  Carvajales.  Chorley  notes  that 
this  is  an  old  play.  Lope  himself  says  so  in  dedicating  it  to 
Sebastian  de  Carvajal :  «  anos  ha  que  escriui  este  suceso)).  Yet, 
despite  the  early  period  of  composition  and  the  fact  that  the 
author  calls  the  piece  a  iraaedia,  a  figiira  del  doiiayre  is  introduc- 
ed. Restori  says  :  «  It  is  certain,  however,  that  Lope  retouched 
the  play  on  printing  it,  otherwise  it  would  be  innpossible  to 
understand  the  allusion  to  La  Gloria  deNiquea,  which  was  writ- 
ten in  April,  1622,  and  represented  on  May  15  of  the  same  year.  » 
Z//L  XXVIII,  233. 

Intencion  (La)  castigada.  — XXII,  Zaragoza,  1630;  MS.  copy 
(Parma). 

Isla  (La)  Barbara.  —  This  play  bears  Lope's  name  in  the 
volume  entitled:  Doce  Comedias  devarios  Autores,  Tortosa,  1638, 
but  it  was  really  written  by  Miguel  Sanchez.  It  has  been  reprint- 
ed by  me  (Boston,  1896)  with  the  true  author's  name  attached 
to  it  :  La  Giiarda  ciiidadosa  and  La  Isla  Barbara,  two  comedias 
by  Miguel  Sanchez  (El  JDivino),  etc.  A.  Restori,  Appiinli  Tca- 
Irali  spagniioli,  {Stitdj  di  filoL  roman^a,  Ease.  20),  1898 

J 

Jacintos  (Los).  —  (See  La  Fasioral  de  Jacinto.) 
Jardin  (El)  de  Amor.  —  (See  Los  Ponces  de  Barcelona). 
Jardin  (El)  de  Vargas.  —  H.  ;   (La  Gata  de  Mari-Ramos),  S. 
(Chorley  and  Duran).  The  incomplete  autograph,   bearing  the 


\ 


192  HUGO    A.    REXNERT 

second  title,  and  formerly  in  Duran's  collection,  is  now  in  the 
Bib.  Xacional:  Cat.  No.  1374.  In  all  probability  it  is  not  an 
autograph.  The  third  Act  is  wanting. 

*Jardin  (El)  de  Falerina.  —  P.  Calderon  wrote  a  play  witli  the 
same  title,  published  in  Part  \\  of  his  comcdias,  Madrid,  1694. 

Jorge  Toledano.  —P.;  P^;  XVII.  MS.  copy  (Parma).  The 
play  has  no  figiira  del  donayre.  Lope  informs  us  in  the  dedication 
that  it  is  an  early  piece.  He  saN's  :  «  Hazia  el  lorge  Toledano 
aquel  insigne  representante  de  Toledo  Solano,  a  quien  en  la 
figura  del  galan  por  la  blandura,  talle  y  aseo  de  su  persona,  nadie 
ha  ygualado  ».  (Madrid,  1621,  fol.  26 r.)  As  the  play  was  first 
represented  by  the  company  of  Caspar  de  Porres,  to  which 
Solano  belonged  in  1595,  tiie  play  was  probably  written  not 
long  before  that  date. 

Juan  de  Dios  y  Anton  Martin.  —  P'.  X.  (San  Juan  de  Dios)  ; 
Acad.  V.  MS.  copy  (Parma),  v.  Ztjt.  XXII,  278. 

ludia  (La)  de  Toledo.  —  (See  Las  Paces  de  los  Reyes).  Mescua 
also  wrote  a  comcdia  entitled  La  Jndia  de  Toledo,  v.  Rcnncrt,  in 
Revue  Hispaniqiie,  VII. 

Jueces  (Los)  de  Castilla.  —  P.-;  M.  :  Acad.  VII.  The  original 
coniedia  of  Lope  no  longer  exists.  The  play  published  in  Acad. 
VII,  is  the  beautiful  piece  by  Moreto.  Menendez  y  Pe'layo  says : 
«  A  play  is  found  under  the  name  of  Moreto  in  ihe  Priniera  Parte 
of  this  Comedias  (1654  and  16^]),  bearing  the  same  title  as 
Lope's  :  Los  Jueces  de  Castilla;  it  is  also  printed  in  the  Verdadera 
Tercera  Parte  of  the  same  author  (1676  and  1707),  afterwards  in 
siieltas  and  finally  in  Moreto's  Comedias  {Bib.  de   Autores  Espa- 

fioles) I  believe  firmly  that  Moreto's  Jueces  de  Castilla  is  only 

a  re-cast  of  Lope's  play,  and  that  it  may  be  substituted  approxi- 
mately for  Lope's  lost  play.  »  (Acad.  VII,  clxxvii.)  All  the 
Partes  o(  Moreto's  Comedias  that  I  have  seen,  and  all  those  that 
I  possess,  except  the  Tercera  Parte  of  Madrid,  1681,  are  spurious 
and  lack  Aprobaciones  and  Licencias.  I  find  the  above  play  in  Ter- 
cera Parte  of  1703.  V,  Salva,  Catdlogo,  I,  No.  1327;  Ztft.  XXVI, 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  1 93 

500;  Schaeffer,  II,  175,  240.  It  may  be  added  that  La  Barrcra 
considered  the  play  of  this  title  that  has  been  preserved  to  be  an 
authentic  play  by  Moreto :  as  «  legitima  suya  » ;  while  Chorley 
is  not  convinced  and  inclines  to  the  belief  that  it  may  be  merely 
a  re-cast  of  Lope's  piece. 

*Jueces  (Los)  de  Ferrara.  —  P. 
—  Juez  (El)  de  su  misma  Causa.  — According  to  Nicolas  Anto- 
nio this  play  appeared  in  Parte  XXIV,  Madrid,  1640. 

Juez  (El)  en  su  Causa.  —  P.  ;  P.^  ;  XXV,  Zaragoza,  1647; 

Dif.  XXVIII.  Chorley  thinks  this  may  be  identical  with  El Jitc\ 

m  su  misma  Causa.  It  is  doubtless  the  same  play.  The  siiclla  in 

Site- Brit.  Mus.  fragment  ot  Dif.  XXVIII.  «  Representola  Aven- 

ano  ». 

Julian  Romero.  —  H.;  Osuna,  Tomo  133,  fols.  101-122. 
Apparently  a  fragment  of  Parte  XXVII.  extravagante,  quoted 
by  Fajardo.  «  Representola  Antonio  de  Prado.  »  v.  Salva, 
Catdlogo,  I,  p.  613. 

^Juventud  (La)  de  San  Isidro.  — H.  ;  In  Relacion  de  las  Fiestas, 
stc,  Madrid,  1622  ;  Obras  siieltas,  XII;  Acad.  IV. 


Laberinto  (El)  de  Amor.  —  (See  La  Pnieba  de   los  Iiigeiiios.') 

Laberinto  (El)  de  Creta.  —  P.-  XVI;  Acad,  VL,  also  called 

imply  El  Laberinto.   See  Life  of  Lope,  p.    113;    Ztjt.   XXIII, 

Labrador  (El)  del  Tormes.  —  H.;  S.  (J.  R.  C. ;  Duran  and 
Holland)  ;  MS.  copy  Cat.  B.  N.  Nos.  420  and  17 18.  The  closing 
/erses  give  an  alternative  title :  Lo  que  piiede  un  Agravio. 

Labrador  (El)  venturoso.  —  XXII,  xMadrid,  1635;  Dif. 
XXVIII  ;  «  Representola  Roque  de  Figueroa  ».  Acad.  MIL 
According  to  Nicolas  Antonio,  this  play  was  contained  in  Parte 
KXIV,  Madrid,  1640.  Fajardo  repeats  this  statement,  and  adds 
that  the  piece  likewise  appeared  in  XXVIII,  extravagante.   It  was 

REVUE    HISPANIQUE.    G.  ^3 


194  HUGO    A.    RENNERT 


represented  before  the  Queen  by  Cristobal  de  Avendano,  between 
October  5,  1622  and  February  5,  1623.  v.  Schack,  Nachlnige, 
p.  67;  Ztfl.  XXVI,  505.  The  siicJta  in  the  Brit.  Mus.  is  a  frag- 
ment of  D//.  XXVIII. 

Lacayo  (El)  fingido.  —  P.;  M.  (anon.);  GL.  161 7.  MS.  copy 
(Parma).  This  phiy  has  no  figiira  del  donayre. 

Lagrimas  (Las)  de  David.  —  M.;  H.  There  is  a  phiy  with  this 
title  by  Godinez  ;  but  the  entry  in  Medeland  Huerta  may  be  mere- 
ly a  slip  for  David  Pcrsegitido. 

Lanza  por  Lanza,  la  de  Ltiis  de  Almansa  (Parts  I  and  II); 
Acad.  IX,  (Part  one).  Tomo  133,  ff.  21-38  (Osuna).  S.  (Part  I, 
Holland).  «  Representola  Avendaiio.  »  Fajardo  alleges,  and.  La 
Barrera  repeats  the  statement  of  his  predecessor,  that  this  play  is  a 
fragment  of  Parte  XXVII,  cxtravagante.  Barcelona,  1633.  Part 
II  of  this  play  seems  to  be  lost. 

Laura  perseguida.  —  P. ;  IV;  MS.  copy,  dated  Alba  de  Tormes, 
October  12,  1594.  Cat.  B.  N.  No.  371.  In  his  Peregrino,  Lope 
says  of  this  play:  «  La  hizo  Porras,  autor  famoso  ».  There  is  a 
reference  to  Alba,  and  the  Duke  Albano  on  fol.  16%  ed.  of  Pam- 
plona, 1614. 

*Lazarillo  de  Tormes.  —  P-. 

Leal  (El)  Criado.  —  XV;  «  Representola  Vergara  ».  MS. 
copy,  dated  at  Alba  de  Tormes,  June  24,  1594.  Cat.  B.  N.  No. 
371.  The  original  autograph  of  this  comedia,  as  well  as  the 
originals  oi  Los  Chaves  de  ViUalba,  Laura  perseguida  and  Carlos 
V.  en  Fraiicia,  existed  in  the  Archives  of  the  Duke  of  Sessa, 
in  1781.  This  play  has  no  true  figura  del  donayre.  The  criado 
leal  of  the  title  is  Uberto,  and  not  the  servant  or  criado  Julio, 
who  is  also  one  of  the  personages.  Julio  has  some  few  witticisms 
alloted  to  him,  but  the  gracias  are  soon  abandoned.  This  come- 
dia belonged  to  the  autor  de  comedias  Luis  de  Vergara,  who  had 
a  license  to  represent  it  on  October  30,  1595.  Sanchez-Arjona, 
Teairo  en  Sevilla,  108. 

Lealtad,  Amor  y  Amistad.  —  M.;  U.;  Parte  XXVI,  exlrava- 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  I95 

rmite,  Zaragoza_,  1645,  which  was  probably  first  pubHshed  be- 
:ween  1632  and  1633.  Chorley  is  somewhat  sceptical  as  to  this 
iarly  issue.  [But  Lope's  El  Desprecio  agradecido  shows  that  it 
nust  have  appeared  before  1635.]  See  above,  concerning  these 
Partes  extravagantes. 

Lealtad  (La)  en  el  Agravio.  —  XXII,  Zaragoza,  1630;  Acad. 
VIII.  MS.  copy  (Parma).  (Seefw  la  mayor  Lealtad  mayor  Agra- 
vio^. La  Lealtad  en  el  Agravio  is  probably  identical  with  Las  Qiti- 
nas  de  Portugal  in  the  first  list  (P.)  of  El  Peregrino.  Acad.  VIII, 
p.  c.;Ztfi.XXYl,  515. 

Lealtad  (La)  en  la  Traicion.  —  H. ;  S.  (J.  R.  C.)  La  Barrera 
says  there  was  a  MS.  of  this  play,  dated  [November  22,]  1617, 
in  the  Duran  collection.  There  is  a  copy  by  Duran  of  a  suelta  in 
the  Bib.  Nac.  C^'^No.  1734),  which  copy  bears  the  additional  title 
El  Honor  en  el  Agravio.  This  alternative  title  is  also  given  in  the 
closing  verses.  «  Representola  Prado  ».  There  is  a  suelta  of  La 
Lealtad  en  la  Traycion,  which  formed  part  of  a  volume  of  come- 
dias  (fols.  41-57)  in  the  Munich  Library.  Stiefel,  in  Zift. 
XXX,  554. 

Leon  (El)  apostolico,  y  Cautivo  coronado.  —  H.  La  Barrera 
states  that  this  play  is  found  in  a  suelta  (Osuna),  described  by 
him  as  a  fragment  of  the  volume  de  Lope  y  otros,  Sevilla.  The 
comedia  is  in  Tomo  132,  Osuna,  if.  171  ei  seq-,  and  this  toino 
colecticio  is  thought  to  represent  the  Comedias  de  Sevilla,  in  which, 
according  to  Fajardo,  the  piece  originally  appeared. 

Ley  (La)  executada.  — XXIV,  Zaragoza,  1633;  H.  III.,  181  ; 
there  is  a  MS.  (copy  of.Part  XXIV)  in  the  Bib.  Nac.  No.  3910.  Of 
this  play  Hartzenbusch  says:  «  The  style,  in  various  passages, 
does  not  seem  to  be  Lope's;  it  appears  more  like  the  work  of 
three  authors  than  of  one  ».  Schaeffer  says  that  in  the  first  two 
Acts  this  play  follows  the  old  novel  Aurelio  I  Isahela. 

Liberal  (El)  Genoues.  —  (See  El  Genoues  liberaf). 
P  Libertad  (La)  de  Castilla  por  el  Conde  Fernan  Gonzalez.  — 
Lisboa  and  Madrid,  1603  ;  MS.  in  Bib.  Nac.  {enlengua  antigua), 


196  HUGO    A.    RENNERT 


^ 


Cat.  No.  89).  Chorley  rejects  the  attribution  to  Lope.  v.  Res- 
tori,  Ztfl .  XXM,  501.  The  play  is  probably  by  Hurtado  de 
Velarde.  Menendez  y  Pelayo,  AntoJogia,  XI,  240,  calls  Lope's 
play  published  in  Parte  XIX  :  La  Libertad  de  Castilla  por  el  Condc 
Fenian  G(';/-^/t'~,  which,  in  fact,  it  is  called  in  the  closing 
lines.  It  is  wholly  different  from  this  play  of  Hurtado  de  Velarde, 
printed  iii  1603. 

Libertad  (La)  de  San   Isidro.  —  M.  ;  H.  This  would  seem  to 
be  La  Jnventiid  de  San  Isidro. 

*Libertad  (La)vendida.  —  P^ 

Limpieza  (La)  no  manchada,  Santa  Brigida.  —  XIX ;  Acad. 
V.  MS.  copy  (Parma).  This  is  El  Asonibro  de  la  linipia  Concep- 
cion,  written  by  Lope  in  1618,  and  acted  on  October  29,  of  the 
same  year  by  the  company  of  Baltasar  de  Pinedo.  See  Tirso  de 
Molina,  La  Villana  de  Vallecas,  Act  I.  sc.  V .,  in  his  Comcdias 
Escog.,  Vol.  VI,  p.  147  ;  Acad.  V,  p.  XLVii ;  and  Zlft.  XXII, 
282. 
-^  Lindona  (La)  de  Galicia.  —  M.;  H.  A  snelta  with  this  title 
bears  Montalvan's  name.  Chorley  thinks  that  this  may  be  the 
play  ascribed  to  Lope.  La  Barrera,  {Caldlogo,  p.  268  and  456) 
would  identify  it  with  Moreto's  La  Rica-hembra  de  Galicia  :  he 
omits  this  piece  from  the  long  list  of  Moreto's  productions 
(/7;/W.  pp.  276-281).  This  is  particulary  unfortunate.  I  have  not 
met  with  any  mention  of  the  Rica-hembra  elsewhere. 

Loco  (El)  por  Fuerza.  —  M. ;  H. ;  MS.  copy  Cat.  B.  N.  No 
1900,  ascribed  to  Lope.     x/j-^tA^-  /^-  JI ,  ^ ^^ 

Loco  (El)  santo.  —  Lope  (?)  According  to  Fajardo,  it  is  the 
Second  Part  of  El  Loco  ciierdo,  which  should  be  El  Cnerdo  loco, 
y  Vcneno  salndable.  Restori,  Una  Collexjone,  p.  33,  says  this  is  a 
double  error.  At  Parma  there  is  a  MS.  entitled  :  Cowcdia  de  la 
primera  parte  del  Truhan  del  Cielo  y  Loco  santo  de  Lope  de  Vega 
Carpio.  El  Loco  santo  may,  therefore,  be  the  alternative  title  of 
Lope's   Triihan  del  Cielo. 

Locos  (Los)  de  Valencia.  —  P. ;  XIII  ;  «  Representola  Ville- 


BIBLIOGRAPHY    OF    LOPK    DE    VEGA  197 

gas  ».  The  MS.  in  the  Bib.  Nac.  Cal.  No.  1905,  entitled  Los 
Locos  de  Zaragoia,  is  this  same  comedia.  The  alternative  title  in 
the  final  verses  is  given  as  EI  Hospital  de  las  Locos  :  the  play  has  no 
fig  urn  del  donayre. 

Locos  (Los)  por  el  Cielo.  —  P.  ;  VIII;  Acad.  IV.  MS.  copy 
(Parma),  v.  Zfft.  XXII,  274. 

Locura  (La)  por  la  Honra.  —  P-.;  XL  MS.  copy  (Parma). 
There  was  formerly  in  the  Osuna  Library  (now  in  the  Bib.  Nac.) 
an  auto  by  Lope,  with  the  same  title.  Cat.  No.  1906  ;  Rocamo- 
ra,  No.  739.  In  the  closing  verses  the  alternative  title  of  the 
comedia  is  given  as  El  Agravio  dichoso. 

Lo  que  esta  determinado.  —  Escog.  Ill,  MS.  copy  (J.  R.  C.) 
The  play  has  no  figura  del  donayre. 

-  Lo  que  es  un  Coche  en  Madrid.  —  H.;  S.  (J.  R.  C.)  It  is  also 
said  to  be  in  Parte  XXVI,  extravagante,  Zaragoza,  16^5.  The 
play  is  really  Antonio  de  Mendoza's  comedia  Los  Riesgos  que  tiene 
un  Coche. 

Lo  que  ha  de  ser.  —  XXII,  Zaragoza,   1630  ;  XXV;   H.  II.,  T.  h.a.W,^^-^^'*«  f 
507;  MS.  copy  in  Brit.  Mus.,  dated  September  2,   1624.   The     k-t^.  'S6^ [^  '^[ 
argument  of  this  play  is  the  «  pietosa  historia  di  Leandro  Spinola    ^-  ^'^■^  -  '^  '      -i 
e  Bianca  Lomellini  ».  Restori,  Genovanel  Teatroclassicodi  Spagna, 
p.  33,  and  p.  35,  n.  2. 

Lo  que  ay  que  fiar  del  Mundo.  —  P-. ;  XII.  MS.  copy  (Parma). 

Lo  que  passa  en  una  Tarde.  —  P.^;  H.;M.  (anon.)  Inedited(?) 
MS.  autog.  (Osuna)  in  Bib.  Nac,  dated  November  22,  1617; 
Cat.  No.  1772.  Rocamora,  No.  749.  «  Representola  Villegas  », 
who  played  the  part  of  Don  Felix.  The  autor  de  comedias,  Juan 
Jeronimo  Almella  possessed  a  manuscript  of  this  play  in  Valen-  ^ 

cia,  in  1628.  v.  H.  Merimee,  in  Bull.  Hisp.  VIII,  p.  378.  ^J9uJ-  hi.  Ms  ^^f 

Lo  que  puede  un  Agravio.  —  M. ;  H. ;  suelta  (Duran,  Holland). 
It  is  El  Labrador  del  Tormes.  See  above.  MS.  copy,  in  Bib.  Nac. 
Cat.  No.  1780  and  No.  420. 

*Lo  que  pueden  Celos.  —  P-, 

Lucinda perseguida .  —  P.;  XVII;  «  Representola  Melchor  de 


l^)S  HUGO    A.    RENNERT 


LeoiD).  MS.  copy  (Parma).  This  play  has  no  Jig ur a  del  donayre. 
Lope_,  in  his  dedication,  speaks  of  it  as  :  «  esta  Comedia  de  las 
primeras  que  yo  escriuia  quando  tambien  eran  mis  afios 
Acres.  »  f-fyt> '^-  ^f^  ^/  ^^^r  J^./-  ^^^ 

*Lucrecia  (La).  —  P-. 

L!ave(La)de  la  Honra.  —  Escog.  Ill  ;  H.  II.,  117;  MS. 
copy  (J.   R.  C).  Cf.  La  Corona  nierecida. 

Llegar(El)en  Ocasion.  —  P.^;  VI;  MS.  copy,  B.  N.  No. 
1937;  MS.  No.  1936,  which  bears  the  same  title  and  is  also 
ascribed  to  Lope,  is  a  different  play  as  the  opening  and  closing 
lines  show.  There  is  also  an  auto  with  the  same  title,  which  was 
represented  by  Avendaiio  in  1621.  Bull.  Hisp.  (1908),  244. 
Lope's  play  is  founded  on  Boccaccio's  Decaimrone,  II,  2. 

M 

Madrastra  (La)  mas  honrada.  —  Osuna,  Tomo  133. 

Mndre  (La)  de  la  mejor.  —  P.-;  XVII;  Acad.  III.  «  Repre- 
sentola  Riquelmew.  This  play,  with  the  title  El  Nacimiento  del 
y^//w  is  found  in  Parte  XXVI,  yv^mi'flo-aw/c,  Zaragoza,  1645.  It 
also  occurs  as  a  siielta,  with  the  title  El  Nacimienlo  del  Alba, 
which  is,  so  far  as  concerns  Acts  I  and  II,  simply  an  abbrevia- 
tion and  mutilation  of  the  present  piece.  Act  III  of  the  stielia,  is 
entirely  different,  has  nothing  to  do  with  the  preceding  Acts, 
and  Chorley  thought  it  good  enough  to  pass  as  Lope's  work, 
were  it  not  so  unlikely  that  he  should  re-cast  an  old  play  foi 
insertion  in  Parte  XVII.  Restori  has  pointed  out  (Z///.  XXII. 
p.  118),  that  this  Act  III  of/:/  Nacimiento  del  Alba  is  tlie  auti 
ot  Lope,  supposed  to  be  lost,  entitled  La  Concepcion  de  Nnestrn 
Sehora.  He  has  since  published  it:  v.  Degli  v  Autos  »  di  Lope  di 
Vega  Carpio,  Parma,  1898,  p.  9. 

Madre  (La)  Teresa  de  Jesus.  —  P-.  With  the  added  title: 
Fundadora  del  Carmen,  there  is  in  the  Bib.  Nac.  Cat.  No, 
1 94 1,  an  Osuna  MS.  partly    autograph   (Act    II.   leaves    6-10) 


BIBLIOGRAPHY   OF   LOPE    DE   VEGA  1 99 


ascribed  to  Lope.  Rocamora.  No.  768.  (v.  Santa  Teresa^. 
Acad.  V.  To  judge  by  the  first  and  last  verses  of  the  MS.,  it  is 
the  same  text  that  is  found  in  Doce  Comedias  de  varios  Anions, 
Tortosa,  1638,  where  the  play^  is  attributed  to  Luis  Vclez  dc 
Guevara,  with  the  title  :  La  bienaventurada  Madre  Santa  Teresa  dc 
Jesus  ;  this  is  also  the  text  which  has  been  published  by  Mcnendcz 
y  Pelayo  in  Acad.  V.  There  is  another  MS.  in  the  Bib.  Nac.  Cat. 
No.  3489,  entitled  :  Vida  y  Muerte  de  Santa  Teresa  de  Jesus, 
which  is  also  from  the  Osuna  collection,  but  it  is  an  entirely 
different  play.  It  is  also  ascribed  to  Lope.  v.  Restori  Ztft.  XXII, 
282;  Litteraturblatt,  1902.  See  La  Vida  y  Muerte  de  Santa  Teresa 
de  Jesus. 

Maestro  (El)  de  danzar.  —  P.  ;  Escog.  Ill;  H.  II.,  71.  The 
autograph,  written  at  Alba  de  Tormes  in  1594,  has,  it  seems, 
disappeared.  There  is  a  copy  in  the  Bib.  Nac.  Cat.  No.  1951. 
In  a  letter  to  Chorley,  dated  April  22,  1866,  La  Barrera  admitted 
that  his  MSS .  of  El  Maestro  de  daniar  and  El  Esclavo  fingido 
were  not  —  as  he  had  imagined  (Catdlogo,  p.  437)  —  autographs, 
but  copies. 

Magdalena  (La).  — P-.  (See  La  niejor  Enaniorada.') 

Mai  casada  (La).  —  P-.;  XV.  «  Representola  Riquelme    ».  )CL^i^'' 

H.  IIc^^.  ^__—  £^^ 

Mai  Pagador  (El)  en  Pajas.  —  Mes.  Roman-ZHDoubtful. 
Fajardo  states  that  it  was  in  the  Comedias  de  Sevilla.  Elsewhere 
he  ascribes  it  to  Calderon,  and  Medel  concurs  ;  but  according  to 
Vera  Tassis  the  play  is  supposititious. 

Marido  (El)  mas  firme,  Orfeo.  —  XX ;  Acad.  VI.  «  The  compo- 
sition of  this  play  cannot  be  much  earlier  than  1625,  the  year 
in  which  the  volume  (XX)  was  published.  »  M.  y  P.  Lope  says  : 
«  Es  Fabula  que  escriui  tres  aiios  antes  que  El  Licenciado  luan 
Perez  de  Montaluan  su  Orfeo  »  ;  1.  e.  about  1 620-1 621.  Come- 
dias, Parte  XX :  Restori,  in  Ztjt.  XXIII,  446.  At  the  end  a . 
second  Part  is  promised,  which  seems  to  be  unknown. 

Marmol(El)de  Felisardo.   —  P;   VI;    MS.   copy  (Osuna), 


>//<» 


200  HUGO    A.    RENNERT 


Cat.B.  N.   No.  2023.    Rocarnora,  No.   792.  This  play  has  no 
figura  del  donayrc. 

Marques  (El)  Je  las  Navas.  —  XXII,  Zaragoza,  1630  ;  Escog. 
VIII.  (as  of  Mira  de  Mescua)  ;  H.  IV.  ;  MS.  autog.  dated  April 
22,  1624  (Holland),  and  S.  (J.  R.  C.  and  Holland).  MS.  copy 
(Parma).  Acad.  XIII.  The  same  subject  is  treated  by  Montalvan 
in  Lo  que  son  Juicios  del  Cielo.  v.Ztft.  XXXI,  500. 

Marques  (El)  de  Mantua.  —  P. ;  XII  ;  MS.  copy  (Parma).  In 
the  final  verses  the  alternative  title  is  Baldovinos  y  Carloio.  The 
plav  has  no  fignra  del  dounyre.  Acad.  XIII.  «  Es  la  mejor  come- 
dia  de  su  genero  entre  las  de  Lope.   »  M.  y  P. 

*Marques  (El)  del  Valle.  —  M.  ;  H. 

*Martir  (El)  de  Florencia.  —  M. ;  P^ 

Martires  (Los)  del  Japon.  —  MS.  copy  Cat.  B.  N.  No.  2034: 
this  MS.  ascribes  the  play  to  Lope,  except  in  the  title  to  the 
Third  Act,  where  it  is  attributed  to  Mescua.  Duran  says  it  is 
Lope's,  but  both  xMedel  and  Huerta  assign  it  to  Mescua.  Acad. 
V.  (Los  prinwos  Martires  del  Japon').  The  date  of  this  play  is 
1 6 17.  Restori,  Ztft.  XXII,  292.  Los  Martires  del  Japon  was  acted 
in  the  Philippines  in  161 9.  Retana,  El  Teatro  en  Filipinas, 
p.  29.  A  play  entitled  Los  Martires  Japones  was  represented  in 
June  1602.  Perez  Pastor,  Nitevos  Datos,  75. 

Martires  (Los)  de  Madrid.  —  H.  ;  DiJ.  XXIX,  Acad.  V;  S. 
(J.  R.  C).  Schacksays  there  was  formerly  in  the  Osuna  Library 
a  play  El  Martir  de  Madrid  by  Mescua.  This  MS.,  autograph 
for  the  greater  part,  is  now  in  the  Bib.  Nac.  Cat.  No.  2029. 
Rocamora,  No.  793  also  ascribes  it  to  Mescua.  In  the  Osuna 
Library  there  were  also  two  copies  (Rocamora,  No.  796)  of  a 
play  Martires  de  Madrid  y  dejar  nn  Reino  por  otro,  ascribed  to 
Matos,  Cancer  y  Moreto.  Cat.  B.  N.  No.  2032.  Another  play 
(apparently)  with  the  same  title  existed  in  MS.  in  the  Osuna 
Library,  attributed  to  «  tres  Ingenios  ».  See  Pa;:  y  Melia's  Cat. 
The  usefulness  of  this  catalogue  is  sometimes  lessened  by  the 
fact  that  the  editor  does  not  always  give  the  name  of  the  author 


BIBLIOGRAPHY    OF    LOPE   DE   VEGA  201 


or  authors  which  appear  on  the  MS.,  but,  without  informing 
us,  he  sometimes  substitutes  what  he  considers  the  correct  name. 
In  Escog.  XLIV,  a  phxy  with  the  same  title  is  ascribed  to  Cancer, 
Villaviciosa  and  Moreto.  v.  Ztft.  XXII,  278. 

Masgalan  (El)  Portugues  Duque  deBerganza.  —  VIII ;  Aaid. 
X;MS.  copy  (Holland;  Parma).  It  also  bears  the  title  lujustos 
Cclos.  V.  Celos  sin  Ocasion,  and  Menendez  y  Pelayo,  Aulolo- 
S^ia,    XII,  pp.  293,  ff.  and  306-308. 

Mas  mal  hay  en  la  Aldeguela  de  lo  que  se  suena.  —  (See  El 
Hijo  de  la  Moliiiera,  y  el  gran  Prior  de  Castilla).  S.  (Brit.  Mus. 
and  J.  R.  C).  The  incomplete  autograph  (Act  II.  only)  was 
said  to  be  in  Duran's  collection.  MS.  copy,  dated  Toledo,  May  6, 
1623,  by  Martin  Navarro.  The  play  bears  the  second  title  in 
Escog.  XLII,  where  it  is  ascribed  to  Francisco  de  Villegas,  to 
whom  it  is  also  attributed  by  Medel  under  the  third  title.  (See 
El  AMegitela.) 

Mas  pueden  Celos  que  Amor.  —  H. ;  Escog.  III.,  H.  II.,  175  ; 
MS.  partly  autograph.  Cat.  B.  N.  No.  2057.  MS.  copy  (Parma). 
The  final  verses  give  an  alternative  title  :  La  Dama  Coniendador. 

*Mas  vale  saber  que  auer.  —  P-. 

Mas  vale  Salto  de  Mata  que  Ruego  de  Buenos.  —  M.  ;  H. ;  Fa- 
jardo  states  that  it  was  in  Parte  XXVI,  extravagante,  Zaragoza, 
164),  (La  Barrera,  Cat.  682).  S.  (J.  R.  C).  See  Restori, 
p.  13.  There  is  also  at  Parma  a  siielta,  Sevilla,  Francisco  de  Leef- 
dael,  attributed  to  «  un  Ingenio  de  esta  Corte». 

Mas  valeis  vos,  Antona,  que  la  Corte  toda.  —  H.  ;  S.  (J.  R. 
C.  Duran.)  MS.  modern  copy  of  the  suella.  Cat.  B.  N.  No. 
2061 ,  with  the  added  title  6  Duquesa  de  Bretaha.  This  supplemen- 
tary title  is  also  noted  by  Fajardo.  In  Lope's  El  Cuerdo  en  sii 
Casa,  (Parte  VI,  fol.  16'')  a  musician  sings  the  song  beginning: 
«  Mas  valeis  vos,  Antona,  etc.  ». 

Matico  (El).  —  P.  (Los  Donaires  de  Matico.) 

*Matrona  (La)  coiistante.  —  P. 

Mayorazgo  (El)  dudoso.  —  P. ;  II;  MS.  copy  (Osuna;  Parma). 


202  HUGO    A.    RENNERT 


Cat.  B.  N.  No.  2099;  Rocamora.  No.  815.  This  play  has  no 
fig  lira  del  donayre. 

Mayor  (La)  Corona.  —  M. ;  H.;  MS.  copy  (Osuna),  Bib. 
Nac.  Cal.  No.  2080.  Rocamora,  No.  818.    \4-f />i^    Af.  H,    <7<?6. 

Mayor  (La)  Desgracia  de  Carlos  V.  —  [Fajardo  notes  the 
additional  title :  y  Hechicerias  de  Argel].  —  XXIV,  Zaragoza, 
1632  and  1633.  MS.  copy,  (Parma).  With  regard  to  this 
play  there  is  some  confusion.  La  Barrera  {Cat.  p.  687)  regards 
it  as  Lope's,  and  states  that  it  is  ascribed  to  Jimenez  de  Encisoin 
Dij.  XLIII,  Valencia,  1660.  The  existence  of  this  volume  is  uncer- 
tain, and  we  know  of  it  only  through  a  casual  mention  by  Fa- 
jardo. No  such  piece  as  La  mayor  Desgracia  de  Carlos  V.  appears 
in  the  true  Dif.  XLIII,  Zaragoza,  1650,  (La  Barrera,  p.  686  ; 
there  is  a  copy  in  the  Ticknor  Library),  nor  does  Jimenez  de 
Enciso  seem  to  have  written  a  play  with  this  title.  La  Barrera 
has  evidently  reproduced  the  entry  in  Fajardo,  who  mistook 
La  mayor  Desgracia  dc  Carlos  V.  for  La  mayor  Haiahade  Carlos  V. 
The  latter  is  by  Jimenez  de  Enciso,  and  is  correctly  attributed  to 
him  in  Dif.  XXXIII  Valencia,  1642  ;  in  Comedias  de  los  mcjores  y 
mas  insignes  Ingenios  de  Espaha,  Lisboa,  1652  (Barrera,  p.  708), 
and  in  z  suelta  (Brit.  Mus.;  J.  R.  C.  and  H.  A.  R.).  Luis  V61ez 
de  Guevara,  is  the  author  of  a  comedia  entitled  La  Jornada  de 
Argcl,  y  mayor  Desgracia  dc  Carlos  V.  This  exists  in  a  suelta,  but 
it  differs  altogether  from  the  play  with  which  we  arc  concerned 
here.  The  ascription  to  Lope  is  maintained  by  Menendez  y  Pe- 
layo  who  reprints  the  piece  in  Acad.  XII.  v.  Restori,  Ztft. 
XXXI,  489.  On  the  event  which  forms  the  subject  ot  La  mayor 
Desgracia,  Lope  writes  as  follows  in  Act  I  of  Los  Cautivos  dc 
Argel  (Part  XXV) : 

Cercole  Carlos,  v  t'uc 
el  mar  con  Carlqstan  bravo, 
de  una  hechiccra  famosa 
segun  dicen  conjurado, 


BIBLIOGRAPHY    OF    LOPE    DE   VEGA  203 

quefue  la  primer  conquista 
que  perdi6  en  el  mundo  Carlos  ; 
porque  contra  el  mar  no  av  armas, 
experiencia  ni  soldado. 

Concerning  the  date  of  this  play,  Mcnendez  says  that  it  is 
subsequent  to  1625,  since  mention  is  made  in  it  of  the  «  fati- 
dico  tanido  de  la  campana  de  Velilla  en  dicho  aiio,  y  se  extracta 
el  discurso  que  sobre  esta  materia  publico  entonces  el  Sr.  Juan 
de  Quiiiones.  » 

Mayor  (La)  Dicha  en  el  Monte.  —  H.  ;  MS.  copy  (Osuna). 
Cat.  B.N.  No.  2084,  with  the  additional  title  y  la  Gloria  en  el 
Mar//no.  Rocamora,  No.  820.     iA-^LJOuJ ^  /V.  ^,    0  6C, 

Mayordomo  (El)  de  la  Duquesa  de  Amalfi.  —  XL  MS.  copy 
(Parma).  There  is  a  play  by  Diego  Muxet  de  Sol  is  entitled  La  Ven- 
ganxa  de  la  Diiqnesa  de  Amalfi,  in  that  writer's  Comedias  hiimanas 
y  divinasy  Riinas  morales,  Bruselas,  1624.  The  author  says  that  it 
is  a  continuation  of  this  piece  of  Lope's.  It  may  be  remarked  in 
passing  that  La  Barrera  (Caldlogo,  p.  282)  gives  La  mas  dichosa 
Vengan^a  as  an  alternative  title  to  La  Vengau~a  de  la  Duquesa  de 
Amalfi:  But  they  are,  in  fact,  two  distinct  works  by  Muxet  de 
Solis.  There  is  a  MS.  La  Mas  dichosa  Vengania  in  the  Bib.  Nac. 
Cat.  No.  2040,  in  which  it  is  ascribed  to  Antonio  de  Solis,  but 
in  Escog.  XXV,  it  is  rightly  attributed  to  Muxet  de  Solis.  Lope's 
play  is  founded  on  a  novella  of  Bandello,  Part  I,  No.  XXVL  See 
Kiesow,  Die  verschiedenen  Bearheitungen  der  Novelle  von  der  Her:^o- 
gin  von  Amalfi,  in  Anglia,  xvii  (1895). 

Mayor  (La)  Hazaiia  de  Alejandro  Magno.  —  H.  ;  MS.  copy 
(Osuna),  Cat.  B.  N.  No.  2087;  Rocamora,  No.  823.  — Inedited. 
It  need  not  be  remarked  that  this  is  a  different  play  from  Las 
Grandeias  de  Alejandro  of  Part  XVL   t/^^^^  /V>  /I,    :>  ?(^, 

Mayor  (El)  Imposible.  —  P^ ;  XXV;  H.  II.,  465.  It  was 
written  in  16 14.  See  Life  of  Lope  de  Vega,  p.  221.  In  the  second  list 
(P'.)  of  the  Peregrino  it  is  given  as  El  Imposible  mayor.  It  is  imi- 
tated by  Moreto  in  his  comedia.  No  puede  ser. 


204  HUGO    A.    RENNERT 


Mayor  (El)  Prodigio,  6  el  Purgaiorio  en  la  Vida.  — M. ;  H. ;  S. 
(Duran).  v.  Schack,  Nachlrdge,  p.  85;  Schaeffer,  I,  201,  also 
ascribes  it  to  Lope.  To  Menendez  y  Pelayo  it  seems  doubtful. 
This  play  and  Calderoii's  El  Purgatoriode  Sail  Patricio  ixt  found- 
ed on  Montalvan's  work  :  Vida  y  Piirgatorio  dc  S.  Patricio,  pub- 
lished in  1627. 

Mayor  (El)  Rey  de  los  Reyes.  —  M.  ;  H.  (El  mayor  de  los 
Reyes).  Fajardo  cites  it  as  being  by  Calderon,  to  whom  it  is 
also  ascribed  in  a  sucJta  (Duran).  Schack  mentions  a  manuscript 
in  the  Osuna  collection  which  bore  this  title  and  the  name  of 
Claramonte,  to  whom  La  Barrera  attributes  the  present  play. 
But,  as  Chorley  notes,  so  many  of  Claramonte's  pieces  are  mere 
re-casts,  that  the  fact  of  his  name  appearing  on  a  siielta  is  far 
from  deciding  tht:  question  of  authorship.  See  Cat.  B.  N. 
No.  2091,  which  is  doubtless  the  Osuna  MS.  mentioned  by 
Schack. 

Mayor  (La)  Victoria.  —  XXII,  Madrid,  1635  ;  XXIV,  Zara- 
goza,  1632  and  1633.  H.  III.,  221.  S.  (Brit.  Mus.  ;  J.  R.  C.  ; 
H.  A.  R.)  The  siielta  I  possess  is  a  modern  one  (1804)  and 
formed  part  of  a  volume,  pp.  317-342.  Schaetfer  (I,  147)  desig- 
nates this  play  as  a  «  Vorstudie  »  to  Si  no  vieran  las  Mngeres, 
and  says  that  it  is  taken  from  Bandello,  Part  I,  Nov.  XVIII. 

Mayor  (La)  Victoria  de  Alemania.  —  Vega  del  P.  XXIV, 
Zaragoza,  1641,  with  the  title  Don  Gon^alo  de  Cordoba,  q.  v. 
Fajardo  asserts  that  it  is  in  Part  V,  Sevilla, 

Mayor  (La)  Virtud  de  un  Rey.  —  Vega  del  P.  Fajardo  states 
that  it  is  in  Part  V,  Sevilla;  Ohras  siielt.  IX  ;  H.  III.,  77.  The 
concluding  verses  show  that  it  is  one  of  Lope's  latest  plays,  and 
may  also  rank  as  one  of  his  best.  It  is  attributed  to  Matos  Fra- 
goso  in  Escog.  XXXVII,  where  it  bears  the  title  El  niejor  Casa- 
mentero. 

Mazagatos  (Los.)  —  H.  (See  La  Historia  de  Maragatos).  The 
title  in  H.  is  a  misprint. 

Medico  (El)  de  su  Honra.  —  H.  ;  Osuna,  Tomo  133,  ff.  1-20. 


BIBLIOGRAPHY    OH    LOPE    DE    VEGA  20 5 

«  Representola  Avendaiio  ».  Fajardo  states  that  it  is  in  Parte 
XXVII,  extravagaHtc,  Barcelona,  1633  ;  0-^  Barrera,  p.  682): 
Acad.  IX.  Calderon's  couiedia  is  a  re-cast  of  this.  The  complete 
title  is  :  Honor  en  la  Sangria  y  Medico  de  su  Houra.  It  was  repre- 
sented by  Antonio  de  Prado  on  October  8,  1628  :  Rennert 
Mod.  Lang.  Rev.  Ill,  46.  Before  this  date  it  had  been  acted  by 
the  company  of  Avendafio,  as  the  extravagante  shows,  —  pro- 
bably between  1621  and  1623.  V.  Restori,  Ztft.  XXMII,  255, 
and  Schack,  Nacbtrdge,  p.  82. 

*Medico  (El)  enamorado.  —  P. 

Mejor  (El)  Alcalde  el  Rey.  —  XXI  ;  H.  I.,  475  ;  Jcad. 
VIII.  S.  (Brit.  Mus.;  J.  R.  C;  H.  A.  R.)  Mes.  Rom.  gives 
this  under  the  title  of  El  Tyrano  de  Galicia.  In  Escog.  XX 
there  is  a  play  by  Martinez  de  Meneses  entitled  EI  mejor 
Alcalde  el  Rey,  y  no  hay  cuenta  con  Serranos,  but,  as  is  noted  in 
the  Tabla  to  the  volume,  this  piece  differs  from  Lope's  (See 
Schaeffer,  II,  136.)  There  is  also  a  siiclta  oi  El  mejor  Alcalde 
el  Rey  at  Parma,  Madrid,  Antonio  Sanz,  1741  ;  mine  is  Valen- 
cia, 1793.  Of  this  play,  Menendez  says  :  «  Es  obra  de  su 
ultima  manera  y  una  de  las  mas  excelentes  de  su  teatro.  » 
(p.  Lv.)  V.  Z///."^XXVI,  512,  517. 

Mejor  (El)  Casamentero.  —  (See  La  mayor  Virlud  de  11  n 
Rey.) 

Mejor  (La)  Enamorada  la  Magdalena.  —  P-.  ;  M.  ;  H.;  MS. 
copy  (Osuna),  Cat.  B.  N.  No.  2120  ;  Rocamora,  No.  832, 
also  MS.  copy  (Gayangos),  No.  3979;  this  latter  lacks  Act  I. 
According  to  Menendez  y  Pelayo,  (^Acad.  V,  p.  lvi),  this  MS. 
is  anonymous  :  v.  Ztft.  XXII,  294.    s/^^lV    M  M-,   <f^f 

Mejor  (El)  Maestro  el  Tiempo.  —  VI. 

Mejor  (El)  Mozo  de  Espana.  — P-. ;  XX;  H.  III.,  609; 
Acad.  X.  Lope  speaks  of  El  mejor  Moxp  de  Espana  in  a  letter 
of  July  2,  i6ir,  as  if  it  were  written  in  that  year  or  shortly 
before.  La  Barrera,  Nueva  Biog.  p.  167  ;  v.  also  Restori,  Ztft. 
XXIX,  364;  Cotarelo,  ElCondede  Villamediana,  239. 


206  HUGO   A.    RENNERT 


Mejor  (HI)  Representante.  —  P-.  (See  Lo  /ingido  Verdadero). 
As  already  noted,  the  piece  on  the  same  subject  by  Cancer, 
Martinez  de  Meneses,  and  Rosete  Nino  in  Escog.  XXIX,  is  an 
independent  work.  However,  Lope's  penultimate  scene  is  uti- 
lized in  Act  III,  sc.  ii,  where  Gines,  on  the  eve  of  martyrdom, 
describes  the  company  of  the  blessed  whose  representative 
he  is. 

Melindres  (Los)  de  Belisa.  —  P-. ;  IX;  H.  I.,  317  ;  it  occurs 
as  a  modern  snella  (J.  R.  C.)  witji  the  title  La  Dama  melindrosa. 
Salva  (I,  p.  623)  notes  a  play  La  Melindrosa  6  los  Esclavos 
supiicsios  as  the  title  of  the  re-cast  of  Lope's  play  by  Tri- 
gueros. 

Merced  (La)  en  el  Castigo,  6  El  Premio  en    la    misma  Pena. 

—  H.  ;  S.  (J.  R.  C.  ;  Holland  and  Parma).  According  to 
Fajardo  this  was  printed  in  Part  XXVI,  extravagante,  Zaragoza, 
1645.  Chorley  questions  the  statement  that  Lope  is  the  author. 
Under  the  title  of  El  Premio  en  la  misina  Pma  the  play  is 
attributed  to  Moreto  in  Escog.  XXX  ;  wrongly,  as  Fernandez- 
Guerra  holds.  With  some  variation  towards  the  close,  and 
with  the  title  El  Dichoso  en  Zarago::a,  it  is  reprinted  in  Escog. 
XL.,  and  also  as  a  snelta.  In  both  cases  it  bears  Montalvan's 
name,  and  Fernandez-Guerra  concurs  in  this  ascription.  Bacon, 
Juan  Pire:(  de  Montalvan,  p.  441,  classes  it  among  the  supposi- 
titious dramas  of  his  author. 

Merito  (El)  en  la  Templanza  (H.),  y  Ventura  por  el  Sueno. 

—  S.  (J.  R.  C.  and  Duran)  ;  MS.  copy  Cat.  B.  N.  No.  2151. 
A  feeble  work  in  which  Chorley  finds  no  trace  of  Lope's 
hand. 

^Meson  (El)  de  la  Corte.  —  P.    /k  W-  A  -T-  -^P^- 

*Miente  quien  jura  y  ama.  —  P-. 

Milagro  (El)  por  los  Celos  (H.),  y  Don  Alvaro  de  Luna.  — 
S.  (Chorley;  Holland;  H.  A.  R.)  Barcelona,  1770.  Acad.  X. 
There  are  two  MSS.  of  this  play  in  the  Bib.  Nac  :  the  Osuna 
MS.  No.  2 16 1,  is  ascribed  to  Lope  ;  Rocamora,  No.  853,  and 


BIBLIOGRAPHY    OF    LOPE    DE    vEGA  207 


No.  2162,  in  which  it  is  attributed  to  Tirso  de  Molina.  Accord- 
ing to  tlie  concluding  lines,  the  full  title  is :  El  Milagro  par 
los  Cclos,  y  exalente  Portaguesa.  Primera  Parte.  On  tlie  same 
theme  (the  story  of  Dona  Beatriz  de  Silva)  Tirso  de  Molina 
also  wrote  a  comedia,  entitled  :  Favoreccr  a  todosy  aniar  a  nin- 
guno,  which,  in  the  opinion  of  Menendez  y  Pelayo,  is  a  better 
written  play  than  Lope's,  but  neither,  he  adds,  redounds  to  the 
glory  of  their  authors,  v.  Cotarelo,  Comedias  de  Tirso  de  Molina, 
II,  p.  xviii.  El  Milagro  por  los  Celos  was  in  possession  of  the 
autor  de  comedias  Andres  de  la  Vega  in  November,  1632.  Perez 
Pastor,  Niievos  Datos,  226  ;  v.  Ztft.  XXIX,  363.  Both  manu- 
scripts in  the  Bib.  Nac.  Nos.  2 161  and  2162  are  of  Lope's 
comedia  though  both  are  ascribed  to  Tirso. 

Milagros  (Los)  del  Desprecio.  —  Escog.  X  ;  H.  IL,  235;  S. 
(Chorley),  attributed  to  tin  ingenio,  and  to  Montalvan,  with 
the  title  Diablos  son  Mugcrcs.  Fajardo  asserts  that  the  play  was 
issued  in  Part  XXVII,  extrdvagante,  Barcelona,  1633;  the  play 
Diablos  son  M//o-gf«  ascribed  to  Montalvan,  is  Lope's  Milagros 
del  Desprecio,  not  even  the  names  of  the  characters,  only  the 
title  being  changed.  Stiefel,  in  Ztft.  X\\  221.  Los  Milagros  del 
Desprecio  was  represented  by  Jeronima  de  Burgos  sometime 
before  December  24,  1632.  Mod.  Lang.  Rev.  Ill,  47. 

Mirad  a  quien  alabais.  —  XVI  ;  Escog.  VI,  Zaragoza,  1653  ; 
H.  IV.,  455 ;  S.  (Chorley).  Cf.  Moreto's  Lo  que  puede  la  Apre- 
hension.  v.  Schaeffer.  II,  166. 

Mocedad  (La)  de  Roldan.  —  P.  ;  XIX.  This  play  has  no 
figiira  del  donayre.  Chorley  calls  it  a  good  specimen  of  Lope's 
early  manner.  In  the  dedication  Lope  says  that  he  composed 
this  comedia  in  his  youth  «  a  devocion  del  gallardo  tallc,  en 
habito  de  hombre,  de  la  unica  represcntanta,  Jusepa  Y-Aca  »  etc. 
Menendez  says  that  it  is  not  likely  that  it  was  written  before 
1596.  Acad.  XIIL 

Mocedades  (Las)  de  Bernardo  del  Carpio.  —  H. ;  Escog.  VI, 
Zaragoza,  1653  ;  and,  according  to  La  Barrera;,  in   XXIX,  extra- 


208  HUGO    A.    REXNERT 

vagank,  Huesca,  1634.  S.  (Brit.  Mus. ;  Chorley;  Holland;  Ren- 
nert).  (See  also  Bernardo  del  Carpio).  v.  Restori,  Ztft .  XXVI, 
492.  As  the  latter  observes,  there  were  two  siicltas  of  Las  Moce- 
dades,  one  at  Madrid,  Calle  dela  Paz,  1728;  the  other  by  Antonio 
Sanz,  Madrid,  en  la  Plazuela  de  la  Calle  de  la  Paz,  1742.  The 
latter  derives  from  a  different  and  better  text  than  all  the  other 
impressions.  It  is  the  one  that  I  possess. 

Molino  (El).  —  P. ;  I ;  H.  I.,  21 ;  S.  (Brit.  Mus.  and  J.  R.  C.) 
This  play  has  no  figura  del  donayre. 

*Monstruo  (El)  de  Amor.  —  P. 

Monstruo  (El)  de  la  Fortuna.  —  Escog.  VII,  where  it  is 
ascribed  to  tres  ingenios.  It  is  Lope's  La  Reina  Juana  de  Ndpoles. 

Montanesa  (La)  famosa.  —  H. ;  P. ;  La  Montahesa.  —  MS.  copy 
Bibl.  Nac.  Cat.  No.  2200,  with  the  additional  title  La  Amistad 
pagada,  under  which  name  it  is  printed  in  Parte  I  of  Lope.  In 
his  Peregrino  Lope  says  of  this  piece  :  «  La  hizo  Santander, 
digno  de  ser  oido,  y  no  de  menor  cuydado  y  ingenio  [que 
Villegas].  »  fol.  263. 

Monteros  (Los)  de  Espinosa.  — P.;  MS. copy  (inedited).  Cat. 
B.  N.  No.  2203.  Menendez  y  Pelayo  says  «  :  La  que  con  este  titulo 
corre  anonima  en  ediciones  sueltas,  por  ningun  concepto  puede 
atribuirse  a  Lope  ;  parece  escrita  en  el  siglo  XVIII.  »  Acad.  Vr 
p.  xli. 

Montes  de  Gelboe.  —  (See  David  perseguido). 

Moza  (La)  de  Cantaro.  —  H.;  Dif.  XXVII  ;  H.  I.,  549  ;  S. 
(J.  R.  C;  Holland;  Parma;  Vienna);  there  is  also  a  re-cast  in 
five  Acts  by  Trigueros.  MS.  copy  Cat.  B.N.  No.  22 1 1 ;  M. ;  anon  : 
whether  this  be  Lope's  play  or  not,  I  do  not  know.  The  date  ot 
composition  of  Lope's  play  may  be  inferred  approximately  from 
the  statement  in  the  closing  verses  that  the  author  had  already 
written  1500  coniedias .  This  would  place  the  date  of  composi- 
tion towards  the  close  of  1631  or  early  in  1632.  v.  Hartzen- 
husch,  Cowedias  Escog .  de  Lope  de  Vega ,  I,  556.  There  is  an  edition 
by  M.    Stathers,    New   York,  191 3.  It    may  be   convenient    to 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  209 

oint  out  that  Dif.  XXXVII  is  tlie  volume  indicated  by  La  Bar- 
era  (Catahgo,  p.  708)  under  the  title  of  Doie  Comedias  nucvas 
e  diferentes  Autores,  las  incjores  que  hasta  ahora  ban  salido,  cuyos 
'tulosvaii  d  la  vitelta,  Parte  XXXXXVIJ .  Aiio  1646.  \ln  Valcn- 
ia,  a  costa  de  Juan  Sonzoni.  La  Barrera  says  that  he  iicard  ot 
his  volume  through  Gayangos,  who  received  his  information 
rom  Chorley  ;  but  La  Barrera  has  omitted  to  note  that 
CXXXXVII  is  a  misprint  for  XXXVII.  Moreover,  he  classifies  the 
lOok  wrongly  under  the  heading  of  Colecciones  Snelias  instead  of 
ilacing  it  in  the  series  of  Diferentes.  This  copy,  discovered  hv 
ficknor  in  the  Library  of  the  University  of  Bologna,  is  believed 
o  be  unique.  The  MS.  in  the  Bib.  Nac.  Cat.  No.  221 1  is  not 
.ope's  cotnedia,  bust  an  entirely  different  play,  to  judge  by  the 
)pening  and  closing  lines  quoted  in  the  Catalogue. 

*Moza  (La)  Gallega.  ^  P-. 

*Mudable  (La).  —  P. 

Mudanzas  (Las)  de  la  Fortuna  y  Sucesos  de  don  Beltran  de 
\ragon.  —  P-.  (Don  Beltran  de  Aragon;)  S.  (Holland,  with  the 
lecond  title  onh')  ;  Parte  III  de  las  Comedias  de  Lope  y  otros 
Autores,  Barcelona,  1612,  1614;  Madrid  and  Seville,  1613;  MS. 
;opy  (Osuna),  dated  1610,  Cat.  B.  N.  No.  2219  ;  Rocamora, 
SJo.  881,  who  says  it  is  an  autograph.  There  is  a  MS.  copy  at 
Parma. 

*Muerte  (La)  del  Maestre.  —  P.  «  Se  referini  a  D.  Alvaro  dt 
Luna?  »  M.  y P. 

Muerte  (La)  mas  venturosa.  —  (See  Antonio  Rocd). 

*Muerto  Vencedor  (El).  —  P.  ;  P^  ;  M. 

Muertos  (Los)  viuos.  —  P. ;  XVII;  a  Representola  Villalua  ». 
MS.  copy  (Parma  and  Bib.  Nac.)  Cat.  No.  2235,  (Duran).  The 
play  has  a  gracioso  in  the  character  of  the  gardener  Doristo.  On 
the  source  of  this  play  —  Parabosco,  Diporti,  Nov.  10,  v.  Stiefel, 
Ztft.f.  frani.  Sprache  u.  Litt.  XXVII,  258.  An  early  play. 
*Mugeres  y  Criados.  —  P^. 
Mugeres  (Las)  sin   Hombres.  —  P-. ;  XVI  ;  Acad.   VI.  This 

REVUE    HISPANIQUE.    G.  '4 


2  10  HUGO    A.    RENNERT 


,  t^  phy,  which   Chorley  conjectures   to  be    Las    Atnaionas,  has  £ 

\/    >^  figura  deldonayie.  v.  Ztft.  XXIII,  443. 

(Q  . '  *Muza  furioso.  —  P.  Mes.  Rom.  states  that  this  piece  is  iden- 

tical with  La  Prisiondc  Mu^a  mentioned  in  P.  Chorley,  however^ 
thinks  that  this  is  unlikely,  inasmuch  as  both  plays  are  giver 
in  the  same  list. 


N 


*Nacimiento  (El).  —  P.  (El  Nacimiento  de  Cristo  ?) 

Xacimiento(El)  de  Cristo.  —  XXIV,  Zaragoza,  1641  ;  Acad. 
III.  S.  (Gavangos).  This  play,  although  called  a  coniedia,  and 
divided  into  three  Acts,  is  an  Auio  del  Nacimiento.  It  has  figurat 
graciosas  in  the  characters  of  Inocencia  (Act.  I)  and  the  shepherc 
Bato  (Acts  II  and  III).  Chorley  ranks  the  play  as  one  of  Lope's 
masterpieces.  If  this  play  be  EJ  'Nacimiento  noted  in  P,  it  must 
be  older  than  1603  ;  in  fact,  Menendez  y  Pelayo  says,  it 
appears  to  be  one  of  the  oldest  of  Lope's  compositions,  v. 
Ztft.  XXII,  122.  There  is,  however,  anotlier  comcdia  by  Lope 
entitled  :  «  La  famosa  Coniedia  del  Nacimiento  de  Christo  Nnestro 
Sehor,  con  la  huelta  de  Egipto.  Por  Lope  de  Vega  Carpio.  Hablan 
en  ella  los  siguientes  :  Octauiano,  Emperador.  Atilio,  senador. 
Regulo,  Senador.  Cleolulo,  Senador.  lesus,  Maria.  Josef.  Isabel, 
etc...  En  Valencia  Por  Pedro  Patricio  Mey,  junto  a  San  Mar- 
tin, 161 3.  Vendese  en  la  misma  Emprenta.  Con  una  loa  ». 
Gallardo,  Ensayo,  IV,  col.  968.  This,  it  will  be  seen,  is  an 
entirely  different  play  from  the  one  in  Part  XXIV. 

Xacimiento  (El)  del  Alba.  —  H.  ;  Osuna,  Tomo  131.  S. 
(Brit.  Mus.;  Arl. ;  J.  R.  C. ;  Vienna)  ;  Fajardo  says  that  this  play 
was  included  in  Parte  XXVI,  extravagant e,  Zaragoza,  1645. 
According  to  the  final  verses  the  alternative  title  is  La  Concep- 
cion  de  la  Virgen.  (Sec  the  note  under  La  Madre  de  la  mejor.^ 

Nacimiento  (El)  de  Urson  y  Valentin.  —  P.  (Urson  y  Valen- 
tin).  I.  (I'irst  Part).  This  play  has  no  figura  del  donayre. 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  211 

Nadiese  conoce.  —  XXII,  Madrid,  1635. 
Nardo  Antonio,  Vandolero.  —  H.  Tomo  131,  ff.  235-254 
Osuna).  Fajardo  says  this  play  was  printed  in  Parte  Y,  Sevilla. 
^  play  entitled  Bl  valiente  Nardo  A)iloiiio  is  ascribed  to  Mescua 
na  list  of  plays  possessed  by  Juan  Jeroninio  Almella  in  Valencia 
n  1628.  H.  Merimec,  Bull.  Hisp:  \Uf,  378  ;  Mod.  Lang.  Rev. 
^1906),  104,  3.nd  Ibid.  Ill,  55. 

Naufragio  (El)  prodigioso.  —  M. ;  H. ;  Tomo  132  (Osuna).  ff. 
—  270,  with  the  title  Don  Manuel  de  Soiisa  :  el  Naufragio  prodi- 
gioso y  Principe  trocado.  Tirso  de  Molina  treated  the  same 
subject  in  his  play  Escarniientos  para  el  Cuerdo.  v.  Cotarelo, 
Comedias  de  Tirso  de  Molina,  II,  p.  xxi  ;  v.  Ticknor  Catalogue, 
p.  105,  under  Corte-Real.  I  think  the  first  ed.  of  the  latter 
work  appeared  at  Lisbon  in  1594.  v.  Schack,  II,  p.  364. 

Necedad  (La)  del  Discrete.  —  P^  ;  XXV  ;  S.  (Munich  ;  MS. 
(Osuna),  Cat.  B.  N.  No.  2286,  with  the  title  La  Necedad  en  el 
Discreto,  and  attributed  to  Calderon,  but  in  the  latter's  Qiiinta 
Parte,  it  is  mentioned  as  existing  in  MS.,  and  as  wrongly 
ascribed  to  Calderon.  Cf.  Cervante/s  novel  El  curioso  Imperti- 
nent e  and  Matos's  corned ia  El  Yerro  del  Entendido. 

Negro  (El)  del   mejor    Amo,   Antiobo  de  Cerdena.  —    MS. 
copy  of  the  early  xvii  century  at  Parma.   Chorley  suggests   that 
this   may   possibly    be  the  alternative    title  of  El    Santo  Negro 
Rosambnco,  but  this  is  a  mistake .   The  play   in   the  Parma  MS. 
Prof.     Restori    says,  is    entirely     different    from    El    Negro  del 
mejor  Amo  by   Mira  de  Mescua,  and  also  from  the  Santo  Negro 
Rosandmco  of  Lope ;  both  these  latter  have  for  a  subject  the  con- 
version of  the    negro    Rosambuco  by    San   Etnito  of    Palein.o. 
The  Parma  play  also  differs  from  the  Negro    mas  prodigioso  ol 
Diamante,  and  «  from  all  the  other  Negros  in  the  catalogues.   » 
The  above    Parma   MS.    of  El  Negro  del  mejor  Amo   has  been 
published  by  Restori,  Degli  «  Anlos  »  di  Lope  de  Vega.  Parma, 
1898  ;  see  also   :  Restori,    Una  Collei.  28;    Ztjt.  XXII,  293  ; 
Mod.  Lang.  Rev.  (1906),  97.  I  have  a  stielta  of  Mescua's  play. 


212  HUGO    A.    RENNERT 


Neron  cruel.  —  (See  Roma  abrasada). 

*Nina  (La)  de  Alcorcon.  —  P-. 

Niiia  (La)  de  Plata  (El  Cortes  Galan).  The  latter  title  is  giver 
in  the  final  verses  of  the  play.  —  P-.  ;  IX;  H.  L,  273  ;  S.  (Brit. 
Mus.;  J.  R.  C. ;  Gayangos;  H.  A.  R.);  Acad.  IX.  In  the  fina! 
verses  the  alternative  title  is  El  cartes  Galaii.  v.  Restori,  p.  28; 
Life  of  Lope,  p.  210,  n.  The  MS.  in  the  Brit.  Mus.  (Egerton, 
547)  entitled  La  Nina  de  Plata  y  Buria  vengada,  dated  Montilla, 
January  29,  161 3,  is  neither  in  Lope's  hand  nor  signed  by 
him  :  it  has  nothing  in  common,  except  the  title,  with  Lope's 
comedia  in  Parte  IX,  so  Prof.  Fitzmaurice-Kelly  assures  me. 
There  are  two  siicltas  of  Lope's  comedia,  one  of  Madrid,  1739, 
and  one  of  Valencia  1781  :  I  possess  the  latter,  v.  Restori,  in 
Ztft.  XXVIII,  234  ff.,  who  gives  all  the  variants  of  the  sueltd, 
which  latter  is,  in  fact,  a  re-cast  of  the  play  in  Part  IX,  made, 
not  impossibly,  by  Lope  himself.  See  also  Mod.  Lang.  Rev. 
(1906),  107;  Schaefter,  I,  p.  145. 

Niiiez  (La)  del  Padre  Rojas.  —  Escog.  XVIII;  Acad.  V;  S. 
(Holland),  MS.  autog.  (Parte  Primera  de  su  Vida),  hi  Bib.  Nac. 
(Osuna)  dated  at  Madrid,  Januar}',  4,  1625;  Cat.  No.  2304  : 
it  bears  a  license  of  February  2,1625.  Rocamora,  No.  927.  In 
the  Tabla  the  title  reads  :  LasNiiieces,  etc.  At  the  end  a  Second 
Part  is  promised,  v.  Zlft.  XXII,  281. 

Niiiez  (La)  de  San  Isidro.  —  Published  in  «  Relacion  de  las 
Fiestas  »,  etc.,  Madrid,  1622;  Obras  Sueltas,  XII;  Acad.  IV.  v. 
Ztft.  XXII,  277. 

Nino  (HI)  Diablo.—  H. ;  (See  El  Diablo  Niiio) ;  MS.  copy  (Pri- 
mera Parte)  in  Bib.  Nac.  (Osuna).  Cat.  No.  2308.  Rocamora, 
No.  923.  S.  (J.  R.  C.  and  Gayangos).  The  present  play  is  undoubt- 
edly by  Luis  Velez  de  Guevara,  as  the  pseudonym  Laiiiv  shows. 
A  comedia  called  El  Nino  diablo  was  represented  by  the  com- 
pany of  Lorenzo  Hurtado  [de  la  Camara]  on  October  5,1631. 
Mod.  Lang.  Rev.  Ill,  48. 

Nino  (El)  inocente  de  la  Guardia.  —  P\  (El  Nino  inocente); 


BIBLIOGRAPHY    OF    LOPE    DH    VEGA  21  3 

Ylll;  Acad.  V.  (SeeEl  Santo  Nihode  la  Guardia.)  MS.  copy  (Par- 
ma). The  autograph  (?)  reported  to  be  in  Duran's  collection, 
entitled  El  santo  Nino,  etc.,  is  now  in  the  Bih.  Nac.  Cat. 
No.  3041.  This  MS.  is  not  an  aiitog.,  and  bears  a  coisiira  at 
Malaga,  January  7,1638.  The  play  has  no  ftgura  del  donayrc. 

*  Nino  (El)  Pastor. —  M.  H. 

Nobles  (Los)  como  han  de  ser.  —  M.  ;  S.  (j.  R.  C);  MS. 
copy  (Duran)  Cat.  B.  N.  No.  2366,  (modern).  (See  Como  ban  dc 
ser  I  OS  Nobles.^ 

Noche  (La)  de  San  Juan.  — XXI ;  MS.  copy(Holland  :  1635). 
Written  in  163 1,  in  three  days.  «  Se  ha  estudiado  y  compuesto 
en  cinco  dias.  Representola  Avendaiio.  »  v.  Casiano  Pellicer,  Tra- 
tado  hi  star  ico,  tie.  II,  168;  Life  of  Lope,  338. 

Noche  (La)  Toledana.  -  P". ;  Parte  III  de  Lope  y  otros  Aittores, 
Barcelona,  1612,  etc.;  H.  I.,  203;  MS.  copy  (Parma;  Osuna). 
Cat.  B.  N.  Nos.  2379  and  4013,  the  latter  modern;  Rocamora, 
No.  933.  La  Noche  Toledana  was  written  shortly  after  the  birth  of 
Philip  IV,(April  8,1605).  v.  Couiedias  de  Lope,  ed.  Hart/enbusch, 
I,  208,  col .  I.  Cf.  Al  pasar  del  Arroyo. 

No  son  todos  Ruiseiiores.  —  XXII,  Madrid,  1635.  S.  (Brit. 
Mus.  and  Gayangos)  with  Calderon's  name  attached  to  it.  See 
Schmidt,  Calderon,^.  483, 

Novios (Los)  de  Hornachuelos.  —  M;  H.  III.,  387;  Acad.  X; 
Tomo  133  (Osuna).  «  Representola  Fernandez  ».  S.  (J.  R.  C). 
There  are  two  MSS.  of  this  comedia,  both  copies,  in  the  Bib. 
Nac.  (see  Cat.  No.  2391).  The  Osuna  MS.  contains  only  the 
first  two  Acts,  and  is  dated  1627  ;  the  other  MS.  reads  at  the 
end:  «  Saquela  en  12  de  Abril  de  1629  anos  en  casa  de  Barto- 
lome  Romero  y  por  su  mandado,  »  and  bears  a  license  dated 
Valencia,  October  15,1629.  In  the  Osuna  MS.  the  play  is  ascribed 
to  Velez  de  Guevara  ;  in  the  other  MS.  to  Guevara  and  Medrano 
in  a  modern  handwriting.  According  to  La  Barrera's  manuscript 
catalogue,  the  Osuna  MS.  contained  Act  I  of  this  play  in  the 
handwriting  of  Luis  Velez  de  Guevara,  and  with  his  signature 


214  HUGO    A.    RENNERT 


appended.  The  only  ancient  edition  of  this  play  known,  an  exces- 
sively rare  siieJta,  ascribes  the  play  to  Lope  de  Vega. 

\iiestra  Senora  de  la  Candelaria  y  sus  Milagros,  y  Guanches 
de  Tenerife.  —  H.;  (See  Los  Guanches  dc  Teiierife.);  X;  the 
MS.  (OsLina),  copy,  Cat.  B.  N.  No.  2398,  is  of  a  play  entirely 
different  from  Lope's,  v.  Ztft .  XXX,  228. 

Nuestra  Senora  de  la  Peiia  de  Francia.  —  H. ;  Tomo  132 
(Osuna).  According  to  Fajardo  this  is  a  fragment  of  the  volume 
by  Lope  and  others,  printed  at  Sevilla.  It  has  been  suggested  that 
this  play  is  by  Tirso  de  Molina,  but  La  Barrera  identifies  it 
{Catcihgo,  p.  683)with  EI  Casaiiiienio  en  la  Muerte,  y  Hrchosdi  Ber- 
nardo del  Carpio,  and  Chorley  is  disposed  to  concur.  There  is,  in 
fact,  no  doubt  as  to  the  identity  of  these  two  plays.  Tirso  de  Moli- 
na's La  Peha  de  Francia  treats  the  theme  quite  independentlv^ 
V.  Cotarelo,  Coniedias  de  Tirso  de  Molina,  II,  xxx.  Ztft.  XXII,  294. 

Nueva  (La)  Victoria  de  don  Gonzalo  de  Cordoba.  —  (this  is 
the  title  in  the  autograph).  —  Fega  del  P.  where  it  bears  the  title  : 
La  mayor  Victoria  de  Alemania  de  D .  Gonzalo  de  Cordoba ; 
XXIV,  Zaragoza,  1641  ;  Obras  suelt.  X.  (See  Don  GonT^alo  de 
Cordoba);  MS.  autog.  (Osuna)  signed  at  Madrid,  October 
8,1622.  with  a  license  dated  October  21,1622.  Cat.  B.  N.  No. 
2409;  Rocamora,  No.  961.  Academy  XIII .  It  is  probable  that 
Lope  wrote  D .  Gon:(alo  de  Cordoba  for  the  two  Valencianos,  auto- 
res  de  coniedias.  v.  Ztft.  XXXI,  503  .  The  play  was  in  the  posses- 
sion of  the  actor  Juan  Jeronimo  Almella  in  Valencia  in  1628. 
V.  H.  Merimee.  Bull.  Hisp.  VIII,  376. 

Nueva  (La)  Victoria  del  Marques  de  Santa  Cruz .  —  P\ ;  where  it 
bears  the  title  La  Tonia  de  Longo  por  El  Marques  de  Santa  Cru~ . 
—  Printed  in  Parte  XXV,  Zaragoza,  1647  ;  Acad.  XIII  «  It  must 
have  been  written  in  1604,  the  date  of  the  action  which  it  com- 
memorates. »  M.  yP.  Ibid.  p.  xvi.  Ztft.  XXXI,  500. 

*Nuevo  (El)  Mundo.  —  P.  Chorley  hesitates  to  affirm  that  this 
is  identical  with  the  next  play  on  the  present  list. 

Nuevo  (El)  Mundo  descubierto  por  Christou  il  Colon  .    —  IV  ; 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  21 5 

Acad.  XI.  This  play  has  no  /?_^//.m  del  danayre.  The  play  has 
also  been  edited  by  E.  Barry  (Paris,  Garnier  frcrcs,  no  date). 
This  editor  had  a  novel  purpose  in  editing  this  text.  He  says  he 
might  have  chosen  any  one  of  a  number  of  masterpieces  of  the 
author,  but«  on  a  prefere  publier  El  nnevo  Muiuio,  punir  Lope  par 
ou  il  a  trop  souvent  peche,  montrer  a  quelles  monstrueuses  pro- 
ductions le  conduisait  I'application  des  theories  anti-classiques  de  ^ 
son  arte  nnevo.  »  Nevertheless,  we  think  Lope  will  survive,    l/-  Pav'^^^/  pliJ-2^ 

Nuevo  (El)  Mundo  en  Castilla.  —  (See  Las  Batuecas  del  Dinjiic      y.^'J 
de  Alha).  Fajardo  gives  this  play  with    the  latter  title. 

Nuevo  (El)  Pitagoras.  —  Schack,  II,  340  :  apparently  other- 
wise unknown.  I  had  always  searched  in  vain  for  this  play  and 
in  the  previous  edition  of  this  catalogue,  I  had  marked  it  very 
doubtful.  Prof.  Stiefel  has,  however,  found  it  :  v.  «  Lopede  Vega 
und  die  Comedia£"/  Nuevo  Pitagoras  »,  in  Roman.  Forsch.  (1908), 
where  the  author  proves  conclusively  that  this  play  is  not  Lope's 
at  all,  but  that  it  was  probably  written  by  Duperron  de  Castera. 
-  Nuevos  (Los)  Martires  de  Argel.  —  Doubtful.  Juan  Jeronimo 
Almella,  an  antor  de  comedias  possessed  a  MS.  copy  of  this  play  in 
Valencia  in  1628,  ascribed  to  Lope.  v.  Bull.  Hisp.  VIII,  376.  Per- 
haps it  is  the  same  as  Los  Cautivos  de  Argel  or  Los  Esclavos  de  Argel. 

Nuevos  (Los)  Sucesos  del  Gran  Duque  de  Moscovia.  —  With 
this  title  there  is  a  MS.  (Osuna),  ascribed  to  Lope  in  the  Bib. 
Nac.  Cat.  No.  2416;  Rocamora,  No.  96.].  It  is  El  Gran  Dnqnc 
de  Moscovia  of  Parte  VII. 

Nunca  mucho  costo  Poco.  —  XXII,  Zaragoza,  1630;  MS. 
(Osuna),  copy,  Cat.  B.  N.No.  2422,  ascribed  to  Lope  de  Vega  : 
Rocamora,  No.  <)GG,  two  copies,  the  one  with  a  license  at  Cor- 
doba, January  4,1643.  This  is  the  secondary  title  oi  Kw'v/.  de 
Alarcon's  famous  comedia,  Los  Pechos  privilegiados,  in  which  he 
retorts  upon  Lope  :  v.  Life  of  Lope,  pp.  331-333-  There  is  no 
other  resemblance  between  the  two  plays,  which  are  entirely 
distinct.  The  only  allusion  to  the  auxiliary  title  Nunca  mucho 
costo  poco  that  I  find  in  Alarcon's  play  is  at  the  end  of  Act  I.  Sc. 


216  HUGO    A.    RENNERT 


4.  But  the  plav  in  XXII,  Zaragoza,  1630,  and  in  the  two  Osuna 
manuscripts  is  undoubtedly  Lope's.  Surely  he,  and  no  other, 
wrote  these  verses  of  Belisa's  song  (Act  II)  : 

M  Van  V  vienen  las  olas,  madre, 
a  las  orillas  del  mar  , 
mis  males  con  las  que  vienen, 
mis  biencs  con  las  que  van.  » 

A  play  entitled  Nunca  miicho  cuesla  poco  (sic),  probably  Lope's 
coDiedia,  was  represented  at  court  by  the  company  of  Andres  de 
la  Vega  on  October  28,1625.  See  Mod.  Lang.  Rev.  Ill,  p.  48. 
Fernandez-Guerra,  Alarcoii,  p.  376,  says  that  the  play  represent- 
ed on  that  date  was  Alarcon"s  Los  Pechos  prmkgiados.  He  does 
not  give  his  source  for  this  statement  :  probably  it  is  Villaamil's 
list  in  the  Avcrignador,  I.  If  so,  I  think  he  is  mistaken. 

o 

Obediencia  (La)  laureada  y  Primer  Carlos  de  Vngria  —  P-.  ; 
VI;  H.    IV.,  165;  S.    (Brit^.   Mus. ;  J.  R.  C,  and  Gayango^.'^ 
MS.  copy  (Osuna),  Cat.  B.  N.  No.  2426  ;  Rocamora  ,  No.  968.  . 
^Uf.dxCa^l^iU,     robras  son  Amores.  —  P^;  XL  S.  (Brit.   Mus.  and  J.  R.  C.) 
Q\ith  the  additional  title  of  Y  no  buenas  Ra:(ones.  MS.  copy  (Parma). 

Ocasion  (La)  perdida.  —  P-  ;  II;  MS.  copy  (Parma  ;  Osuna) 
Cat.  B.  N.  No.  2436.  Rocamora.  No.  974.  Chorley  says  that  there 
is  no  fignra  del  donayre  in  this  play,  but  Hernandillo,  lacayo,  is 
noted  as  a  gracioso  on  the  first  page  of  the  play.  ^  TC/  ^f/%,  ^'  ' 

Octava  (La)  Maravilla.  —  P^;X.  MS.  copy  (Parma). 

Once  )nil  Virgenes(Las)  :  Santa  Ursula.  Mes.  Rom.  M.  (anon.); 
H.;  Doubtful.  Mesonero  Romanos  alone  ascribes  this  play  to 
Lope. 

Orden  (La)de  la  Redencion  y  Virgen  de  los  Remedios.  —  MS. 
copy  (Holland).  Doubtful.  La  Barrera  conjectures  {Cat.  p.  436) 
that  the  Holland  MS.  may  be  Calderon's  lost  phy, Nuestra  Sehora 


BIBLIOGRAPHY    OF    LOPE   DE    VEGA  217 

le  los  Remcdios.  A  comedia  with  a  somewhat  similar  title.  — 
La  Esclavitiid  mas  dichosa  y  Firgen  dc  los  Reimdios  is  printed  in 
Sscog.  XXV  and  as  a  suelta  with  the  names  of  Francisco  de 
/iilegas  and  Jusepe  Rojo.  Restori  suggests  that  La  Ordeii  de  la 
^edencion  may  possibly  be  an  alternative  title  of  La  Vida  dc  San 
^edro  Nolasco.  Ztff.  XXII,  277.  v.  Schacffer,  II,  322. 

*Oste^morena.  —  P-. 

*Otomano  (El)  famoso.  —  P. 


Paces  (Las)  de  los  Reyes,  y  Judia  de  Toledo.  — ■  P- ;  VII ;  H. 
[II.,  567;  Acad.  VIII.  V.  Zf//.  XXVI;  515.  J^'"^.  ^■/^i^'7A 

*Padres  (Los)  engaiiados.  —  P. 

Padrino  (El)  desposado.  —  P. ;  P\  ;  II.  MS.  copy  (Parma).  Ac- 
:ording  to  Fajardo  this  is  an  alternative  title  of  Argolan,  Rey  de 
dlcalci.  q.  V.  This  play  has  no  figura  del  donayre.  One  of  the 
;haracters  in  the  play,  Argolan  Moro,  Rey  de  Alcala,  supports 
Fajardo's  statement.  El  Padrino  desposado  was  represented  by  Rios 
(who  took  the  character  of  Argolan)  sometime  before  1600,  in 
Granada,  v.  Rojas,  Viage  entretenido,  ed.  of  1603,  p.  1S2.  Cf. 
Bandello,  Part  III,  Nov.  LIV.  (Schaeffer.) 

*Paje  (El)  de  Don  Alvaro. —  Doubtful.  See  under  Suppositi- 
tious Plays  :  what  is  there  said  would  have  been  more  fittingly 
inserted  in  this  place. 

Paje  (El)  de  la  Reina.  —  P.  ^^j^  ^^.  rt-^^'] 

*Palabra  (La)  mal  cumplida.  —  P.  -.--^ 

Palacio  (El)  confuso.  —  i)//.  XXVIII,  (Huesca,  1634).  Nicolas 
Antonio  states  that  it  was  printed  in  Parte  XXIV,  Madrid,  1640. 
It  occurs  as  a  siielta  (Duran),  and  in  Escog.  XXVIII  (1667), 
attributed  to  Mescua.  It  has  been  further  asserted  by  La  Barrera 
that  this  play  was  included  in  Parte  XXVIII  (exiravaganie),  Zara- 
goza,  1639.  Fajardo,  however,  does  not  quote  it  as  appearing  in 
Parte  XXVIII,  extravamnte.  He  ascribes  the  coniedia  to  Lope  and 


2l8  HUGO   A.    RENNERT 


his  entry  continues  :  «  En  su  Parte  XXIV  antigua.  Fx.  »  This  is 
meant  to  convey  that  Fajardo  himself  had  a  copy  of  the  book 
in  his  collection,  and  the  volume  would  appear  to  be  the  vanished 
Parte  XXIV,  Madrid,  1640,  mentioned  by  Nicolas  Antonio.  Fajar- 
do repeats  the  title,  followed  by  Mira  de  Mescua's  name,  as  occur- 
ring in  «  Parte  XXVIII  Varios  »,  —  meaning  Escog.  XXVIII  — 
where,  in  fact,  it  is  found.  In  a  volume  of  siieUas  in  the  Munich 
Library  described  by  Stiefel,  Ztft.  XV,  218,  EJ  Pnlacio  confiiso  is 
ascribed  to  Mescua  ;  besides,  a  MS.  coiuedia  with  the  same  title, 
which  was  in  possession  of  Juan  Jeronimo  Almella  in  Valencia,  in 
1628,  is  also  attributed  to  Mescua.  H.  Merimee,  Bull.  Hisp.  VIII. 
378.  I  have  read  £/  Palacio  confuso,  and  its 'style  is  certainly  very 
much  like  Lope's  but  the  style  of  no  dramatist  of  this  period, 
perhaps,  so  much  resembles  Lope's  as  does  the  style  of  Mescua, 
which  makes  the  question  of  authorship  difhcult  to  determine. 
El  Palacio  confuso  was  first  represented  by  \'alleio.  After  the 
above  was  written  I  noticed  that  Schaeffer,  I.  320,  says  that  the 
first  Act  oi  El  palacio  confuso  may  be  Lope's,  but  that  the  remain- 
ing two  Acts,  and  perhaps  the  whole  play  is  rather  Mescua's 
than  Lope's.  Huerta  thought  there  were  two  coiiiedias  bearing 
the  title  El  palacio  confuso,  one  by  Mescua,  the  other  by  Lope. 
Ibid.  II,  319. 

Palacios  (Los)  de  Galiana.  —  P. ;  (La  Galiana)  ;  XXIII.  In  the 
concluding  verses  the  alternative  title  :  Aniorcs  de  Carlos  is  given. 
This  play  has  no  fig ur a  del  donayre.  Acad.  XIII. 

Paloma  (La)  de  Toledo.  —  H. ;  Dif  XXIX,  Huesca,  1634; 
Acad.  X;  MS.  Copy  (Osuna),  Cat.  B.  N.  No.  2490  :  Rocamora, 
No.  987.  Chorley  notes  in  his  collection  a  fragment  of  Dif. 
XXIX,  Huesca,  1634;  ff.  121-140;  Salva,  I.  548.  This  play 
was  represented  at  Court  bv  Thomas  Fernande/c  in  October,  1625 . 
Mod.  Lang.  Rev.  Ill,  49 . 

Paraiso  (El)  de  Laura  y  Florestas  de  Amor.  —  MS.  copy 
(Holland)  dated  1680.  Doubtful.  H.  gives  El  Paraiso  de  Laura 
and  Las  Florestas  de  Amor  as  two  distinct  and  separate  plays,  both 
anonymous. 


BIBLIOGRAPHY  OF  LOPE  DE  VEGA  219 

Pasar  (Al)  del  Arroyo.  —  (See  AJ  pa<;ar  del  Arrow). 

*  Pastor  Fido  (El).  —  M.  ;  H. 

Pastor  (El)  Soldado  .  —  MS.  copy  (Parma)  See  Restori,  p.  50. 
At  the  end  it  is  called  :  LaEiclaua  dcsii  Hijo.  This  title  is  found 
in  P  -.  The  play  was  supposed  to  be  lost. 

Pastoral  (La)  de  Albania  ,  —  P.  (See  Pastoral  dc  Jacinto). 

Pastoral  (Un)  Albergue.  —  Coinedias  imd.  1873.  MS.  copv 
(Duran).  Cat.  13.  N.  No.  2526;  Acad.  XIII.  «  A  mi  juicio  es 
muy  dudoso  que  sea  de  Lope...  al  fin  anadese  la  noticia  de  que 
se  hizo  diez  y  ocho  dias  en  Sevilla  »  .  M.  y.  P.  ibid.  p.  cxii.  The 
editors  of  the  1873  ed.  say  :  «  after  examining  the  MS.  very  care- 
fully, we  are  of  the  opinion  that  this  comedia  is  by  three  wits, 
and  that  one  of  the  co-authors  was  Lope  de  Vega  :  and  tho  the 
MS.  is  not  an  autograph,  the  first  Act  has  corrections  and  emen- 
dations made  by  Lope  :  besides  some  blank  spaces  left  by  the 
copyist,  either  because  they  were  wanting  in  his  original,  or 
because  they  were  unintelligible,  are  likewise  written  in  the  hand 
of  Lope.  This  extends,  however,  only  to  the  first  Act.  The  remain- 
ing two  are  in  two  different  hands.   » 

Pastoral  (La)  de  los  Celos.  —  P.  (See  Pastoral  dc  Jacinto). 

*  Pastoral  (La)  encantada.  —  P.  ; 
Pastoral  (La)  de  Jacinto.  —  XVIII.  (P.  Los  Jacintos;    GL.   v- >^-^- ^""""Z       [. 

16 17,  El  Celoso  desi  misnio  6  Los  Jacintos).  Ticknor  says  it  occurs  >Vr,  ^ 

as  ASiielta  with  the  title  :  La  Sclva  de  Albania  y  Celoso  de  si  inisnio. 
MS.  Copy  (Parma,  Restori.  p.  29),  and  Cat.  B.  N.  No.  2527. 
It  is  the  same  as  La  Pastoral  de  Albania  and  La  Pastoral  de  los 
Celos.  Acad.  V.  This  play  has  no  figura  del  donayre.  «  Esta  come- 
dia es  la  segunda  en  antigiiedad  entre  las  que  conocemos  deLope, 
despuesde£"/  verdadero  Amante.  »  M.  y.  P.  Ibid.  p.  lix.  v.  the  im- 
portant remarks  of  Restori,  Ztfl.  XXIII,  430.  ff".  There  are  two 
MSS.  at  Parma :  one  entitled  Ja~inio  y  Zeloso  de  si  iiiisino.  The 
concluding  verses  are  diff'erent  in  the  two  MSS. 

*Pastoral  (La)  de  la  Siega.  —  P. 

Pedro  Carbonero.  —  P.;  XIV.  «  Representola  Granados  y  el 


220  HUGO    A.    RENNERT 


Pedro   Carbonero  famosamente  ».  (See   El  Cordobes  Valeroso). 
Acad.  XI. 

Pedro  de  Urdemalas.  —  P'  ;  S.  (Duran).  Huerta  assigns  it  to 
Montalvan,  and  Schack  says  that  it  is  by  Lope.  It  occurs  as  a 
sueha  under  the  names  of  both  these  poets.  See  Cat.  B.  N.  No. 
2550,  a  MS.  of  a  couiedia  with  this  title,  apparently  by  Dia- 
mante. As  there  are  several  plays  with  this  title,  it  is  impossible 
to  say  who  was  the  author  of  Las  Burlas  de  Pedro  de  Urdemalas, 
represented  by  Vallejo's  company  in  1622,  as  the  plays  of  both 
Lope  de  Vega  and  Cervantes  were  written  before  this  date- 
Schick,  Nacht rage,  p.  67.  Bacon,  Life  and  Works  of  Montalvan, 
classes  it  among  the  supposititious  works  of  his  author  (p.  447). 

*Peligro  (El)  de  alabarse.  —  P-.  This  play  is  noted  by  La  Bar- 
rera  as  anonymous.  There  is  a  MS.  of  a  much  later  coiiiedia  in 
the  Bib.  Nac.  Cat.  No.  329,  entitled  :  La  Bandolera  de  Bac^a  y 
Peligro  en  alabarse,  by  the  alitor  de  coniedias,  Alonso  Caballero. 

Peligros  (Los)  de  la  Ausencia.  —  XXIV,  Zaragoza,  1641  ;  H  . 
II.,  405.  S.  (Gayangos.) 

Pena  (La)  de  Francia.  —  M.  H. ;  Fajardo  states  that  it  was 
printed  in  the  volume  of  Comedias  by  Lope  and  others,  Sevilla. 
A  fragment  survives  in  the  Osuna  collection,  Tomo  132.  with 
the  title  Nuestra  Sehora  de  la  Fend  de  Francia,  q.  v.  See  also  Res- 
tori,  Ztft.  XXn,  294. 

*Peraltas  (Los).  —  P.  :  P^;  mentioned  by  Lope  in  the  dedi- 
cation of  El  Serafin  hiimano,  XIX. 

^.-Perdicion  (La)  de  Espaiia,  y  Descendencia  de  los  Ceballos.  — 
P.  It  was  represented  before  the  Queen  by  the  company  of 
Pedro  de  Valdes  in  October,  1622.  The  play  was  still  in  existence 
at  the  beginning  of  the  xviii'''  century,  for  Fajardo  mentions 
it  as  a  suelta  entitled  :  Perdida  de  Espaha  y  Descendencia  de  los 
Ceballos. 

Perdida  (La)  honrosa  6  los  Caballeros  de  San  Juan.  —  Acad. 
XII ;  MS.  copy  modern  (Duran),  of  an  ancient  MS.  belonging 
to  Sr.  Quiroga,  of  Madrid.  Cat.  B.  N.  No.  2575. 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  221 

Perdidas  (Las)  del  que  juega.  —  iM.  (anon.)  ;  H.  ;  MS.  copy 
(Osuna),  Cat.  B.N.  No.  2576  :  Kocamora,  No.  1021,  wlio  con- 
sidered it  an  autograph.  MS.  copy  (Holland). 

*Peregrina  (La).  — P. 

Peribanez  y  el    Comendador  de  Ocaiia.  —  P-;  (Coniendador  j^*^""*-^^ 


de  Ocana);  IV;  H.  IIL,  281 ;  Acad.  X;  MS.  copy  (Holland)  :  7^^' eT^-f 
the  corrections  in  this  MS.  seem  to  be  in  Lope's  hand.  «  La  fecha  ^Z^^^'t^^h^^tjC- 
de  esta  comedia  puede  fijarsc  con  aproximacion  enire  1609  y  caa^^^-*j^  e^oo^^ 
1614.  »  M.  y  P.  See  Act  III,  Sc.  5,  where  Lope  says  :  «  A  la  /<bPP-(^^*'^''-'y^', 
iglesia  me  acogi  ».  If  this  be  taken  literally  the  play  must  have  -^^  -<  y.  a,  ,r 
been  written  in  1614.  But  Parte  ^:  appeared  in  that  year!  , 

Perro  (El)  delHortelano.  —  P^Y H.  L,  341  ;  S.  (Brit.  Mus.;  0^-  ^-/{/"^V"  ' 
J.  R.  C.  and  H.  A.  R.)  ;  Esco^.  XXV.  It  is  found  as  a  siielta, 
ascribed  to  Moreto,  with  the  title  La  Condesa  de  Belflor.  With 
the  title  Amar  por  ver  Arnar  it  exists  in  MS.  dated  1659,  in  the 
library  of  Lord  Holland.  There  is  at  Parma  a  suelta  :  Sevilla,  por 
Tome  de  Dios  Miranda,  1676  :  Restori.  Cf.  the  saying  : 
«  Como  el  perro  del  hortelano,  ni  come  ni  deja  comer  ». 

Perseguido  (El).  —  P. ;  I ;  and  Lisboa  &  Madrid,  1603.  (See 
Carlos  el  Perseguido.)  «  La  represento  Cisneros,  a  quien,  desde  la 
invencion  de  las  comedias,  no  hay,£comparacion  alguno  ».  El 
Peregrhio,  fol.  263. 

Perseo  (El).  (See  La  Fabiila  de  Perseo). 

Piadoso  (El)  Aragones.  —  XXI;  Acad.  X;  MS.  autograph 
(Osuna),  dated  Madrid,  August  17,  1626,  with  licenses  oi  Madrid, 
September  15,  1626;  Zaragoza,  1627  and  Lisboa,  1631.  Cat.B. 
N.  No.  2607;  Rocamora,  No.  1028,  v.  Ztft.  XXIX,  364. 

Piadoso  (El)  Veneciano.  —  P^  ;   XXIII;  H.    IIL,  547.   It  is 
founded  on  a  tale  of  Cinzio  Giraldi,  Dec.  I,  Nov.  5.  Schaeffer,  II, 
317.  Cf.    Tirso    de   Molina's  comedia,   El  honroso  Atrevimienlo, 
which  contains  the  same  argumeni,  with  only  slight  changes  :       ^ 
Comedias  de  Tirso  de  Molina,  ed.  Cotarelo,  II,  xxiii.     y-^  P  tr,  U^^^yx  .      o*^  " 

Piedad  (^La)  executada.  —  XVIIL  This  play  has  no  figiira  del 
donayre,  though  two  minor  characters  in  Act  I.  —  D.  Juan  Men- 


222  HUGO    A.    RENNERT 


doza's  page  and  Bustamente  (the  guarda  damns)  —  approach  the 

.  ^,       oracioso   type.  This    comedia    is  ahnost   certainly    the  old    play 

•^     /{.     Pimenteks  y  Quinones  :  (see  below).  Two  of  the  most  prominent 

■^J^  ,f^  characters   in    it   are    D.   Fernando    de  Quinones   and  D.  Juan 

L'  Pimentel.  On  fol.    1 60,  we  read  : 

«  La  puerta  de  cpigramas  adornada, 
geroglificos,  armas,  v  blasones, 
la  diuisa  en  un  quadro  coronada, 
que  junta  Pimenteles,  y  Quinones.  » 

Pimenteles  y  Quinones.  —  P.  Mes.  Romanos  identifies  this 
with  La  Piedad  excciitada,  (Parte  XVIII),  and  Chorley  thinks  he 
may  be  right.  See  La  Piedad  execiitada. 

*Platero  (El)  del  Cielo.  —  P-.  Antonio  Martinez  de  Meneses 
wrote  a  play  entitled  :  El  Platero  del  Cielo,  San  Eloy,  which  is 
probably  founded  on  Lope's  play. 

Platicante  (El)  de  Amor.  —  Doubtful.  It  is  ascribed  to  Lope  in 
a  MS.  possessed  by  the  autor  de  coiiicdias  Juan  Jeronimo  Almella 
in  Valencia  in  1628.  H.  Merimee,  Bull.  Hisp.,  VIII,  378. 

Pleito  (El)  por  la  Honra,  6  el  Valor  de  Fernandico.  —  H. ; 
Do^e  Coniedias  nuevas  de  Lope  de  Vega  y  olros  Autores,  Barcelona, 
ff_//.r-/o^&^}  i63o/(La  Barrera,  707);  S.  (Brit.  Mus. ;  J.R.C.;  Holland  and 
tw'o  suellas  at  Parma,  one  apparently  of  Madrid,  the  other  of 
Valladolid,  Alonso  del  Riego,  s.  a'!?).  Acad.  VIII  ;  MS.  copy 
(Osuna),  Cat.  B.  N.  No.  2644,  w^ith  the  title  El  Valor  de  Fernan- 
dico. It  is  the  second  Part  of  Lope's  La  desdichada  Estefania, 
which  precedes  it  in  the  volume  of  Barcelona,  1630.  The  alter- 
native title  is  given  in  the  closing  verses,  v.  Zlft.  XXVI,  513 
Schaeffer  (I,  95)  doubts  Lope's  authorship  of  this  play,  as  does 
also  Menendez  y  Pelayo,  in  the  corrupt  and  mangled  text  in 
which  it  has  reached  us.  The  latter  thinks  that  Caiiizares  may  have 
had  a  copy  of  the  authentic  play  by  Lope,  and  that  portions  of 
this  genuine  version  are  contained  in  Canizares's  ccnicdia  '■ 
Por  acrisolar  su  Hcncr,  Ccvipelidvr  Hijo  v  Padre  (^A  lo  que  ohliga 
el  Hi  r.i  r,  y  Luelc  contra  su  Padre) . 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  22  3 

Pleytos  (Los)  de  Inglaterra.  —  P.  (El  Pleyto  dc  Ingahuerra)  ; 
LXIII.  There  is  no  Jigiira  del  doiiayre  in  this  play. 

Pobreza  (La)  cstimada.  —  P.  ;  XVIII ;  H.  IV.,  137.  MS.  copy 
Parma).  In  the  concluding  verses  the  alternative  title  is  given 
s  La  Riqiie:;a  iiial  nacida. 

Pobreza  no  es  Vile/a.  —  XX;  H.  IV.,  233  ;  Acad.  XII.  This 
ilay  was  represented  by  Antonio  de  Prado  on  July  29,  1626. 
Vlod.  Lang.  Rev.  Ill,  49.  It  is  probably  not  much  earlier  than 
hat  date.  «  Comedia  deliciosamente  escrita,  como  todas  las  de 
\  ultima  manera  de  Lope  ».  M.  y  P.  v,  Ztft.  XXI,  499. 

Pobrezas  (Las)  de  Reynaldos."'—  P.;  VII;  Acad.  XIII.  This 
day  has  no  Jig ura  del  donayre.  "  Pertenece  a  la  primera  manera 
.e  Lope  como  todas  comedias  de  este  ciclo  ".  M.  y  P.  p.  Ixxxiii. 
t  was  imitated  by  Moreto  and  Matos  in  El  inejor  Par  de  los 
loce.  (Schaeffer).    %r^^£^l_Ei^  .^  V,  ///f,  /  .  e/T. 

Poder  (El)  en  el  Discreto.  —  H.  (anon.)  ;  MS.  autograph, 
!ated  Madrid,  May  8,  1623,  with  ceiisitras  at  Madrid,  January  18, 
624;  Valencia,  September  ir,  1625  and  Zaragoza,  January  2, 
626.  Cat.  B.  N.  No.  2649;  Rocamora,  No.  1045.    e/^»^^  /^/7,  ^^o 

Poder  (El)  vencido  y  Amor  premiado.  —  P-.  ;  X.  MS.  copy 
Parma). 

*  Ponzella  (La)  de  Francia.  —  P.  This  play,  now  lost,  was 
epresented  on  December  25,  1636,  by  Juan  Martinez.  Mod.  Lang. 
lev.  Ill,  49.  Menendez  y  Pelayo  says  that  some  reminiscences  of 
his  tragedy  of  Joan  of  Arc  may  perhaps  be  found  in  Antonio  de 
'amora's  La  Poncella  de  Orleans.  In  Cat.  B.  N.  No.  2669,  an 
Dsuna  MS.  ascribes  it  to  Zamora  and  Canizares. 

Ponces  (Los)  de  Barcelona.  —  P".  ;  IX.  MS.  copy  (Parma), 
fhe  closing  verses  give  the  title  El  Jardin  de  Amor. 

Por  la  Puente,  Juana.  —  XXI.  According  to  Fajardo  this  was 
ncluded  in  Parte  XXVII,  extravaganie,  Barcelona,  1633  ;   H.  II., 
141  ;S.(Brit.  Mus.;J.R.C.;/andH.A.ll.).Salva(Ca/.  1,548),  10^-  ^/-/^;:7^,>W 
iGsst^&e^  a  fragment  of  an  ancient  volume  which  contained  Por 
a  Puente,  Juana  and  Zelos  con  Zelos  se  citran,  both  attributed  to 


2  24  HUGO    A.    RENNERT 


Lope.  The  fragment  was  without  foUation,  extending  from  sig. 
C  3  to  E  6. 

Porceles  (Los)  de  Murcia.  —  P-.  ;  \'ll;At:ad.  XL  v.  Restori, 
Ztft.  XXX,  234. 

Porfia  (La)  hasta  el  Temor.  —  According  to  Nicolas  Antonio 
this  w-as  included  in  Parte  XXIY,  Madrid,  1640,  and  Fajardo 
asserts  that  it  was  in  Parte  XXVIII,  extravaganie,  [Zaragoza, 
1639  (?).  It  is  in  Dif.  XXXVIII,  Huesca,  1634].  H.  II,  311; 
MS.  copy  Cat.  B.  N.  No.  2674,  actually  No,  420.  S.  «  very 
ancient  »  (Parma).  «  Representola  Roque  de  Figueroa  »,  probab- 
ly after  1624. 

Porfiando  vence  Amor.  — In  Vega  del  Panmso,  1637;  Obras 
Suelt.  IX  ;  H.  III.,  237.  Fajardo  gives  it  as  being  in  Parte  V.  ot 
Lope,  printed  —  not  at  Seville,  but  —  at  Madrid.  Medel  cites  the 
same  title  under  the  name  of  Calderon  but  Vera  Tassis  says  that 
it  is  not  Calderon's. 

Porrtar  hasta  morir  (Macias  el  Enamorado).  —  XXIII;  H.  III., 
95 ;  Acad.  X.  A  comedia  entitled  Macias,  in  all  probability  the 
same  play,  was  represented  by  Pedro  de  la  Rosa  in  the  Retire  on 
June  20,  1636.  Mod.  Lang.  Rev.  Ill,  45.  «  Esta  preciosa  comedia 
es  de  los  ultimos  tiempos  de  Lope  ».  M.  y  P. 

Portuguesa  (La)  y  Dicha  del  Forastero.  —  P'  (Dicha  del 
Forastero).  Escog.  Ill;  H.  II,  155  ;  MS.  copy  (J.R.C.).  This 
play  was  written  shortly  after  November  19,  161 5,  the  date  o. 
the  entry  of  Princess  Isabel  (daughter  of  Henry  IV  of  France) 
into  Madrid.  Hartzenbusch.  II,  165. 

Postrer  (El)  Godo  de  Espana.  —  P'  ;  VIII ;  printed  also  in 
XXV.  with  the  title  :  El  idtimo  Godo.  Acad.  VII.  v.  Zlft.  XXVI. 
488. 

Prados  (Los)  dc  Leon.  -  P^  ;  XVI;  H.  W.,  434;  Acad. 
VII;  Ztft.  XXVI,  490.  Menendez  y  Pelayo  calls  attention  to 
the  fact  that  this  is  one  of  his  six  plays  that  Lope  seems  to  have 
esteemed  most  ;  speaking  through  El  Teatro  in  the  Prologo  dialo- 
gistico  of  Parte  X\'I,  he  says  :  «  Mirad  a  qnieit  alabais,  El  Perseo, 


"■^    y^   ^    ij^U.  /-«--^  *-^'   _ 


fic-Ov'," 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA 


22) 


El  Laherinlo  y  Los  Prados,  El  Adonis  y  La  Felisarda   estan  de 
suerte  cscritas,  que  parcce  que  se  detuvo  en  cllas". 

Premie  (El)  del  bien  habbr.  —  XXI  ;  H.  I.,  493  ;  S.  (Hrii. 
Mus.;  J.R.C.;/and  H.A.R.)-  Imuran  says  that  this  play  is  a\so  /r)/fr-/^'f'ij^''^ 
printed  with  the  additional  title  of  Folver  por  las  Miigeres,  and  ^<^  </~eci>^^  , 
ascribed  to  «  un  ingenio  ».  v.  Cal.  B.  N.  No.  837  ;  Cervantes  is 
mentioned  in  Act  I  of  Lope's  play,  w  hich  was  represented  by 
Tomas  Fernandez  in  San  Lorenzo  el  Real  before  November  18, 
1625.  Mod.  Lang.  Rev.  Ill,  50. 

Premio  (El)  de  la  Hermosura.  —  P-  ;  XVL  Naturally  there  is 
no  figura  del  donayre  in  this  play  :  a  Fiesta  Real  written  by  com- 
mand of  Philip  Ill's  consort,  Queen  Margarita  (died  16 11).  Among 
the  actors  were  the  Infantes,  Ana  (b.  1601)  afterwards  wife  ot 
Louis  XIII;  and  Philip,  afterwards  Philip  IV  (b.  1605)  .  «  las 
dos  mejores  personas  en  el  mundo  »,  as  the  courtl}''  poet  is  careful 
to  tell  us. 

Acad.  XIII.  It  was  represented  in  the  Parque  de  Lerma  on 
November  3,  16 14.  v.  Comedias  incdilas  de  Lope  de  Vega,  Madrid, 

1873,  P- 479- 

*  Premio  (El)  en  la  misma  Pena.  —  M. ;  H.  According  to  La 
Barrera  this  is  La  Merced  en  el  Castigo,  but  Chorley  is  inclined 

to  doubt  it.  See  the  note  on  the  latter  play.                                   _.  f^ ]p^tm<uO  -y^ 

Primer  (El)  Carlos  de  Ungria.  —  P^  ;  (See  La  Obediencia  lau-  7  Jvxnx,/W  ir^ ' 

reada).  ^^^'^'^^  ^ 

*  Primer  (El)  Christiano.  —  P-.  Otherwise  unknown.  A/,-^  "^V- 
Primer    (La)  Culpa  del   Hombre.    —   (See   La    Creadon  del 

Mundo) . 

Primer  (El)  Faxardo.  —  P.  (Los  Faxardos  ?)  :  VII;  Acad.  X. 
Chorley  thinks  that  El  primer  Faxardo  may  be  a  different  play 
from  that  noted  in  P.,  for  the  piece  printed  in  Parte  MI  is  con- 
cerned only  with  the  first  who  bore  the  name.  There  is  an  unmis- 
takable gracioso  in  the  person  of  the  MoorZulemilla.  Menendez  y 
Pelayo  thinks  they  are  probably  one  and  the  same  play,  and  that 
El  primer  Faxardo  was,  therefore,  written  before    1603,  a  date 

REVUE    HISPANIQ.UE.    G.  '  ) 


226  HUGO    A.    RENNERT 


which  seems  to  be  confirmed  by  the  confusion  of  the  plot,  «  la 
viciosa  contextura  de  la  tabula  y  el  desaUno  del  estilo,  que  son 
notas  caracteristicas  de  la  primera  y  mas  ruda  manera  de  Lope, 
sobre  todo  en  sus  piezas  historicas  y  novelescasw.  Acad.  X,  p.  ix. 
Primer  (El)  Rey  de  Castilla.  —  P.  ;  XVII  ;  «  Representola 
Vergara  ».  Acad.  VIII.  MS.  copy  (Parma),  v.  Restori,  Ztft., 
XXVI,  505-506. 

Primera  (La)  Informacion.  —  XXII,  Madrid,  1635  ;  Acad.  IX. 
At  the  end  of  the  play  in  Parte  XXII,  we  read  :  «  Es  de  Lope 
Felix  de  Vega  Carpio,  no  del  Doctor  luan  Perez  de  Montalvan  », 
which  shows  that  it  had  circulated  under  Montalvan's  name. 

Primero  (El)  Rey  de  Persia.  —  (See  Contra  Valor  no  ay 
Desdicha). 

*  Primero  (El)  Medicis.  —  (See  La  Oiiinta  de  Florencia).  It  is 
the  same  play. 

Primeros  (Los)  Martires   de  Japon.    —  Acad.   V.  MS.    copy 
(Osuna)  made  in  Lisbon  in  1637,  entitled  Los  Martires  del  Japon, 
Cat.  B.  N.  No.  2034.  ^^  "^^''^s  written  in  1617,  the  year  of  the 
martyrdom,  v.   Ztft.  XXII,    292.   A  play  entitled  Los  Martires 
Japoneses  was  represented  by  Pedro  Rodriguez  at  the  end  of  June, 
1602.  Perez  Pastor,  Niievos  Datos,  75. 
Princesa  (La)  de  los  Montes.  —  (See  Satisfacer  callando). 
Principe  (El)  Carbonero.  —  P-. ;  M ;  H.  Ineditei? 
Principe  (El)  despenado.  —  VII  ;  Tomo  131  (Osuna)  ;  Acad. 
^      r         ,        VIII.  MS.   autograph,  in  the  possession  of  the  Countess  Torre- 
r  kabel,  dated  November  27,  1602,  \<\\\\  aprobaciones -m\^  licenses 

dated  at  Madrid  and  Valladolid  in  1603  respectively.  There  is  no 
c  jignra  del  donayre  in   this  play,  which,  Chorley  thinks,  may  be 

pfi'^i  identical  with   HI   Despenado   noted  in  P'.  There  is  also  a  MS 

^7^  ^-^  -^formerly  ifl-tke-^^essession  of  D.  ^S^deX^lxkaga)  in  the  Bib.  Nac. 

y  Cat.   No.  2726,  entitled  El  Principe  despefiado,  ascribed  to  Lope, 

which  begins  : 

Alf.  —  Que  nucvai,  hay  dc  mi  esposa  r 

the  end  (incomplete)  : 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  227 

toma,  sol,  aquel  lugar. 

It  will  be  seen  that  this  must  be  a  different  play  iVom  the  one 
published  in  Lope's  Parte  VII,  although  Sr.  Paz  y  Melia  says 
that  the  MS.  of  the  Bib.  Nac.  is  an  autograph,  with  censiiras  of 
1607  and  161 1 .  According  to  Restori,  there  is  asuella  at  Parma 
which  adheres  more  closely  to  the  edition  of  1 6 17  than  to  the 
autograph,  but  is  not  identical  [with  the  text  of  161 7].  It  is 
notable,  he  adds,  that  the  printed  texts  (the  sueita  and  the  ed. 
of  1617)  represent  an  older  text  than  the  autograph.  All  the 
passages  cancelled  in  the  autograph  are  in  the  printed  texts. 
Where  Lope  has  corrected  the  text,  the  printed  versions  have  the 
first  reading,  not  the  corrected  one.  See  Ztft.  XXVI,  508,  where 
many  variants  are  given. 
j—  Principe  (El)  Don  Carlos.  —  Salvd  (Catdlogo,\,  639)  possessed 
a  snelta  of  this  play,  ascribed  to  Lope.  Concerning  it  he  says  : 
«  This  edition  appears  to  be  prior  to  1620,  and  in  it  the  state- 
ment is  made  that  the  play  was  represented  by  Olmedo.  There 
is  an  exact  reimpression  of  it  in  Escog.  XXVIII  (1667)  and  there 
it  is  wrongly  attributed  to  Montalvan,  confusing  it,  doubtless, 
as  La  Barrera  has  also  done,  with  El  segundo  Seneca  dc  Espaha  y 
Principe  D.  Carlos  of  the  said  author.  I  also  possess  an  impres- 
sion of  Valencia,  1773,  with  the  name  of  D,  Diego  Jimenez 
Enciso ;  but  with  variations,  additions  and  suppressions  of  such 
a  character  that  it  may  be  said  to  have  been  rewritten  by  the 
said  Enciso.  According  to  a  note  I  have  of  Duran's,  this  rejun- 
dicion  is  found  in  Parte  XXVIII,  de  las  de  afuera,  Huesca,  1634  ». 

It  is  true  that  La  Barrera  {Cat.  p.  684)  attributes  the  piece  in 
Esco^.  XXVIII,  to  Montalvan,  but  in  the  copy  of  his  Catalogue 
which  came  into  the  possession  of  the  Bib.  Nac.  after  his  death, 
we  find  that  La  Barrera  had  struck  out  this  ascription  to  Mon- 
talvan. v.  Bacon,  «  The  Comedias  of  Montalvan  »,  in  Romanic 
Review,  I,  20.  Mesonero  Romanos  also  ascribes  a  play  El  Principe 
D.  Carlos  to  Lope. 

Concerning  the  statement  of  Salvd,  above,  the  following  may 


228  HUGO    A.    RENXERT 


be  observed  :  i)  The  impression  of  Valencia,  1773,  is  the  ver- 
sion of  Caiiizares,  and  agrees  with  the  atitograph  MS.  of  Caiiizares 
in  the  Bib.  Nac.  Cat.  No.  2727.  2)  In  Parte  XXVIII,  Difercntes, 
(Huesca,  1634,  of  which  there  is  a  copy  in  the  Ticknor  Library) 
the  phiy  is  attributed  to  D.  Diego  Ximenez  de  Anciso  {sic),  and 
it  is  stated  that  it  was  represented  by  Ohnedo  :  but  in  nowise 
can  it  be  said  that  this  version  (of  which  there  is  a  MS.  (copy) 
in  the  Bib.  Nac.  Cat.  No.  2728)  is  identical  with  that  of  the 
siielta  of  Valencia,  1773,  for  although  the  work  of  Canizares  i^  a 
re-cast  of  the  comedia  of  Enciso,  the  deuonciiiciit  is  quite  diiferent 
and  it  ends  with  the  death  of  the  prince. 

The  version  of  Dif.  (Huesca,  1634),  oi  Escog.  XXVIII,  and 
the  siit'lla  of  Salva,  all  have  the  same  text,  with  only  slight 
variations,  and  all  are  the  work  of  Enciso,  for  no  one  has  denied 
his  authorship.  The  version  of  the  suella  of  Valencia,  1773,  is 
that  of  Caiiizares.  From  this  it  follows  that  down  to  the  present 
day  no  coincdia  entitled  El  Principe  don  Carlos  has  come  to  light 
which  differs  from  the  two  versions  mentioned  above,  and  hence 
the  comedia  of  Lope  as  apocryphal,  v.  Crawford,  Mod.  Lang. 
Notes,  (1907),  239,  who  says  that  the  te.xt  of  1667  follows  that 
of  1634  quite  closely. 

A  Principe  (El)  Escanderbeg.  —  Fajardo  names  Lope  as  the 
author,  and  states  that  the  comedia  appeared  "  en  su  Parte  XXVIII, 
cxtravagante.  This  is  apparently  the  only  ground  for  attributing 
the  play  to  Lope.  The  authorship  of  this  piece  is  doubtful,  and 
the  ascriptions  in  print  are  more  than  usually  confusing.  Thus 
in  Dif.  XXVIII,  Huesca,  1634,  it  bears  the  name  of  Luis  Velez 
de  Guevara ;  in  a  suelta  it  bears  the  name  of  Belmonte.  It  also 
appears  in  Escog.  XLVIII,  under  the  expanded  m\eoi  El  gran  Jorge 
Castriolo  y  Principe  Escanderbeck.  Here  it  is  ascribed  to  Velez  de 
Guevara  in  the  text,  and  to  Belmonte  in  the  Tabic,  v.  Schaeffer, 
II,  318. 

>  Principe  (El)  ignorante.  —  M;  Fajardo;  H.  A  play  entitled  £/ 
Principe  igiioranlc  was  represented  beft)re  ihe  King  between  Octo- 


BIBLIOGRAPHY  OF   LOPE    DE    VEGA  229 


bcr  5,1622  and  February  5,162:;,  by  the  company  of  Avcndano. 

*Principe(El)inocente.  —  P;  P^  h  has  been  conjectured  that 
this  is  the  same  phiy  as  El  Principe  ioiioraiilc .  The  fact  that/?/ 
Principe  iiioccnte  figures  in  both  hst  ot  the  Peregrino  seems  to 
preclude  such  a  supposition. 

Principe  (El)  de  Marruecos.  —  P.  Perhaps  this  is  La  tragedia 
del  Key  doii   Sebastian    y    Baiitisino   del   Principe  de  Marruecos  of 
Part  XI. 
>^Principe  (El)  melancolico.  —  P.     /feo^.    /1^^  -^  ?  "^^ 

Principe  (El)  perfeto  :  Parte  I.  —  P^;  XI.  —  Parte  II.  P'; 
XVIII;  H.  II.,  93  and  117;  Acad.  X.  There  are  two  MSS.  of 
Part  I,  and  one  MS.  of  parte  II,  in  the  Bib.  Nac.  thus  described 
by  Paz  y  Melia  (Cat.  Nos.  2733,  2734)  :  Parte  I  :  copy,  which 
belonged  to  D.  Luis  Ramirez  de  Arellano.  License  at  Zaragoza, 
November  28,  161 6,  and  signature  of  Lope  de  Vega,  dated 
November  23,1614.  the  latter  was  probably  imitated  by  Phi- 
lipe  Conte  de  Montoya,  whose  handwriting  is  on  the  title  of 
Act.  III.  There  is  also  an  Osuna  MS.  of  the  xvii  century. 

Parte  II  .  Osuna  MS.  on  the  last  leaf,  after  the  licenses,  are 
these  lines,  which  differ  from  the  printed  play  (which,  at  the 
end,  promises  a  Third  Part)  : 

Y  aqui  l.>  comedia  acabe 
de  como  sera  un  bucn'rey. 

The  signature  of  Lope  is  also  imitated.  The  MS.  is  of  the  xvii 
century,  each  Act  being  in  a  different  hand.  There  is  a  license  of 
1621,  and  one  dated  at  Jaen  on  October  14  of  the  same  year, 
in  which  permission  is  given  to  Alonso  Riquelme,  autor  de  conie- 
dias,  to  represent  this  play,  entitled  :  Conio  ha  de  ser  un  bnen  Key 
V  Principe  perfeclo.  Rocamora  (Nos.  1074,  1075)  declared  that 
both  Osuna  MSS.  where  autographs.  There  are  MSS.  of  both 
parts  at  Parma.  V.  Ztft.  XXIX,  365  ;  LaBarrera,  Niieva  Biog.,  p. 
225 . 

Principe  (El)  trocado.  —  (See  HI  Nanfragio  prodigioso.) 


2  50  HUGO    A.    RENNERT 


*Prision  (La)  de  los  Bencerrajes.  —  P=  .[i?<^^Ca^-^'*^'-/^ 
*Prision  (L.i)  de  Muza.  —  P.  (See  Muiafiirioso.) 
Prision(La)  sin  Culpa.  —  P;  VIII.  MS.  copy  (  Parma).  There 
is  no  fig  lira  del  dona  y  re  in  tiiis  play. 

Prodigio  (El)  de  Etiopia.  —  H.  (Santa  Teodora);  Tomo  132 
J.f'j'^tt^^    (Osuna);  S:    (J.   R.  C./and  Holland);  Acad.lY.  According  to 
jj^da^.  Fajardo  this  play  was  printed  in  Parte  XXVI,  ey.travagaute,  Zara- 

goza,  1645.  «  Representola  Anias.  »  In  the  MS.  additions  to  his 
Catalogue,  Chorley  says :  «  Is  does  not  seem  absolutely  certain  that 
this  is  the  piece  which  is  cited  with  the  title  Sania  Teodora.  It 
is  true  that  there  is  a  Teodora  in  the  play  and  that  it  is  predicted 
of  her  that  she  will  be  reputed  as  a  saint,  but  she  does  not  become 
a  saint  in  the  play,  and  it  is  to  be  observed  that  not  she  is  the 
Prodigio  de  Etiopia,  but  a  negro,  whose  audacity  and  extraordi- 
nary deeds  are  the  principal  subject  of  the  play.  To  me  it  seems 
at  least  possible  that  Medel  cited  under  this  title  the  comedia  of 
Claramonte,  Pusosemeel  Sol,  saliome  la  Luna,  Santa  Teodora,  which 
is  found  under  Lope's  name  in  Dif.  XXIX.  and  which  exists 
as  suelta  ,  attributed  to  him  ,  the  subject  of  which  is  the  life  of 
that  Saint  «.  V.  Stiefel,  Ztft.  XXX,  553  ;  Restori,  Ztft.  XXII,  274. 
Lope's  play  is  the  original  of  Moreto,  Matos  and  Cancer's  La  Ad  al- 
tera penitente. 

*  Prodigio  (El)  de  India,  San  fosafat.  —  Mes.  Romanos.  Doubt- 
ful; it  may  possibly  be  another  title  o{  Barlan  y  Josafd. 
■»»«j  (li)        "      Prospera(La)  Fortuna  de  D.  Bernardo  de  Cabrera.  —  M.  (anon). 
^  hf-ynyj -     Doce  Comcdias  de  Lop'cde  Vega  Carpio  y  olros  Autores.  Parte  XXIX. 
/tu^.  A/>        Huesca,  163^.  (La  Barrera,  p.  783.)  Doubtful.  By  Mira  de  Mes- 
?,  cua  ? 

Prudencia  (La)  en  el  Castigo.  —  M ;  H  ;  Escog.  XLIV,  with 
RojasZorrilla's  name  :  S.  (J.  R.  C.)  with  Lope's  name.  Chorley 
is  strongly  inclined  to  ascribe  this  play  to  Lope.  Schaeffer  {Ge- 
schicbte  dcs  spanischen  Nationaldramas,  I,  p.  116),  seems  to  have 
no  doubt  that  this  play  is  Lope's.  He  says  that  Lope  wrote  two 
plays  entitled  Comose  venganlos  Nobles,  one  with  the  alternative 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  23  I 

title  El  Testimoniovciigiuio,  the  other  with  the  suh-title  La  prn- 
dencia  en  el  Caslh^o.  Schaeffer  gives  an  analysis  of  the  latter,  a 
remarkable  tragedy  which  in  one  of  its  incidents  bears  a  striking 
resemblance  to  Lope's  ElCastigo  sin  Feiigania.    iif^/  /f^'o, 

*Pradencia  (La)  vitoriosa.  —  P-.  This  seems  to  be  otherwise 
unknown. 

Praeba  (La)   de  los  Amigos.  — P- ;  Comedias  ined.    1873;  /    fjruLc^ 

MS.  autograph, [signed  by  Lope  at  Toledo,  September  12,1604.      f  Ij"^' 
whith  censuras  of  1608  and   161 2.  At  the  end  of  this  play  Lope 
uses  his  pseudonym  Belardo.    'f{'f^-E'/  /f/i,  ^/^  ^/^. 

Prueba  (La)  de  los  Ligenios.  •—  P';  IX.  MS.  copy  (Parma), 
with  the  added  title  :  y  Laherinto  deAiiior.  This  addition  is  men- 
tioned in  the  closing  verses  of  the  play. 

Prueba  (La)  de  la  Paciencia.  -^  (See  El  Exeniplo  de  Casadas.) 

*Psiques  y  Cupido.  —  P.  Calderon's  comedia  A/  Amor  sc  libra 
de  Amor  is  a  dramatization  of  the  same  beautiful  fable  of  Apuleius. 

Purgatorio  (El)  en  la  Vida.  —  (See  El  mayor  Prodigio.) 

Pusoseme  el  Sol,  saliome  la  Luna  ;  Santa  Teodora.  —  DiJ. 
XXIX,  Huesca,  1634,  wheretheplay  is  attributed  to  Claramonte; 
Parte  XXVI,  extravagante,  Zaragoza,  1645, (La  Barrera,  682).  S. 
(J.  R.  C.  and  Salva);  this  latter  suelta  also  see  was  to  ascribe  the 
play  to  Lope.  La  Barrera  follows  Medel  in  attributing  it  to  Cla- 
ramonte. The  autograph  was  alleged  to  be  in  Duran's  collection. 
There  is  an  Osuna  MS.  ot  the  xvii  century  in  the  Bib.  Nac.  Cal. 
No.  2783,  in  which  the  play  is  ascribed  to  Lope  de  Vega.  V. 
Ztfl.  XXII,  275.  For  the  title,  d.  the  Letra  ajenn  in  Salinas, 
Poesias,  I,  p.  1 12  :  '     • 

Pusoseme  el  sol, 
Sali6me  la  luna, 
Mas  me  valiera,  Madrc, 
La  noche  escura. 


HUGO   A.    RENNERT 


Quando  Lope  quierc,  quiere.  —  H;  (See  Ei  Cast'h^o  sin  Voi- 
i^nii~a  .) 

Querer  mas  y  sufrir  menos.  —  Tomo  1 3 1  (Osuna) ;  Parle 
XXIX  dc  Lope  y  otros,  Huesca,  1634  ;  S.  (J.  R .  C).  \'.  Mod.  Lang. 
Rev.  (1906),  105. 

Querer  la  propia  Desdicha.  —  XV;  «  Rcpresentola  Riquelme  ». 
H.  II.,  270;  a  play  subsequent  to  the  year  1609.  Salva  {Cat.  I, 
548)  notes  a  sitclta  of  44  pages,  of  this  play  :  Brusselas,  por 
Huberto  Antonio  Velpio,  1649.  MS.  recast  of  this  play,  with  the 
additional  title  LaMuger  sinoular  in  Cat.  B.  N.  No.  3997,  page 
618. 

Quien  ama  no  haga  Ficros.  —  XVIII  H  .  I.,433  ;  MS.  copy 
(Parma,  Osuna),  Cat.  B.  N.  No.  2797;  Rocamora,  No.  1097, 
reads  'Peros',  instead  of  «  Fieros  ». 

Quien  bien  ama  tarde  olvida.  — XXII,  Zaragoza,  1630;  MS. 
copy  (Parma,  Osuna),  N.  the  latter  dated  1624,  Cat.  B.  N.  No. 
2798  ;  Rocamora  No.  1098.  There  is  also  in  the  Bib.  Nac.  (Cat. 
No.  2797)  an  autog.  MS.  by  Francisco  Miracle,  with  the  added 
title  :  Primer  Duque  de  Calabria  . 

Quien  mas  no  puede.  —  P-.  XVII  ;  Representola  Pedro 
Cebrian.  MS.  autog.  dated  Madrid,  September  1,1616,  in  the 
possession  of  Mr.  John  Murray,  London.  MS.  copy  (Parma). 
I  have  a  copv  of  the  Murray  autograph,  due  to  the  kindness  of 
my  friend  Dr.  James  Fitzmaurice-Kelly. 

*  Quien  muchoviue.  — Doubtful.  Comedia  ascribed  to  Lope  in 
possession  at  ihij  milor  dc  roiiicdias .  Juan  Jeronimo  Almella  in 
\'alencia  in  1628.  Bull.  Hisp.  VIII,  378. 

Quien  todo  lo  quiere.  —  XXII,  Madrid,  1635.  MS.  copy 
(Osuna),  Cat.  \\.  N.  No.  2810;  Kocamora,  No.  1103.  Proverb: 
Quien  lodo  lo  quiere,  todo  lo  pierde; 

Quinas  (Las)  de  Portugal.  —  P;  (Tirso  de  Molina  wrote  a 
play  with  the  same  title,  a  MS.  of  which,  signed  by  him  on 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  233 

March  8,1638,  is  in  the  Bib.  Xac.  Cat.  No.  281 3"^,  This,  Mcnen- 
dez  y  Pelayo  says  is  perhaps  the  same  plav  as  La  I^altad  en  el 
Agravio.  (See  also  En  la  viaxor  Lealtail.) 

Quinta  (La)  de  Florencia.  —  P- ;  II.  MS.  copy  (Parma).  La 
Oiiinta  de  Florencia  is  also  in  P.,  under  the  title  El  primer  Medici s . 
V.  Mesonero  Romanos,  Cat.  cronolot^ico,  p.  xlix  ;  Restori,  Una 
Colk~ione,  p.  31.  At  the  end  the  play  is  called  :  El  gran  Medicis 
famoso,primero  Duquede  Florencia.  Lope  found  the  outline  of  the 
plot  in  Bandello,  Navelle,  P.   II,  Xo.  xv.  V.  Schack,  II,  p.  3^7.  f^-..^'/'' ^^' 

R 

Ramilletes  de  Madrid.  —  P- ;  XI;  H.  I\'.,  302.  (See  Las 
Dos  Estrellas  trocadas).  MS.  copy  (Parma.  Written  probably 
shortly  after  Xovember,  1615.  \'.  ed.  Hartzenbusch,  3 14,  a;  Ihid. 
Vol.  I,  XX;  and  Life  of  Lope,  226. 

Ramirez  (Los)  de  Arellano.  —  XXIV,  Zaragoza,  i64i;S. 
(Gayangos);  Acad.  IX;  MS. copy  Cat.  B.  X.  Xo.  2824,  \'.  Ztft.  ,  P 

XXIX,  128;  Menendez  y  Pela\-o.  Antolooia,  XII,  146.  f^'^M    laiM:6i^t>L?l  , 

Remedio  (El)  en  la  Desdicha.  —  P^ ;  XIII;  H.  III.,  133; 
Acad.  XL  Chorley  thinks  that  Ahindarrae-  v  Narvae'  (P)  may 
be  an  alternative  title.  It  is  an  early  play  «  saquela  en  mis  tiernos 
afios  de  la  prosa  de  Montemavor  ».  But  Lope  apparently  re- 
touched it  before  publication;  for  the  servant  Nuno,  though  a 
brave  soldier,  inclines  decidedly  to  the  gracioso  type.  There  can  hard- 
ly be  a  doubt  that  Chorley's  conjecture  is  correct  and  that  the  above 
are  two  titles  of  one  and  the  same  play.  V.  Restori,  in  Z///.XXX, 
317;  Menendez  v  Pelayo,  Antologia,  XII,  252.  The  play  was 
first  represented  bv  "■  Rios,  unico  representante  ». 
Renegado  (El)  de  Amor.  —  (See  El  Argel  fingido.) 
Resistencia  (La)  honrada.  —  H.  (See  La  Condcsa  Maiilde.)  q 

Rev  (El)  Bamba.  — [H  ;  I .  (See  Fida  y  Miierte  del  Rex  Famha.)  L  ^ 
Rev  (El)  de  Frisia.  —  P.  (Rey  de  Frigia  ?  Midas?) 
Rey(El)don  Pedro  en  Madrid.—  {See  El  Infan~on  de  Illesccis.) 


234 


HUGO    A.    RENNERT 


Rev  (El)  fingido,  y  Amores  de  Sancha.  —  Mes.  Rom.  ;  M. 
(anon.)  Doubtful.      /^oV-    /^v -^  4 -^-f , 

Rey  (El)  por  Semejanza.  —  Doubtful;  MS.  copy  (Duran), 
Cat.  B.  N.  Xo.  291 1 ;  on  the  title  the  play  is  ascribed  to  Gra- 
xales  (Juan  de  Grajales?),  and  on  the  fly-leaf  of  Act.  II,  the  play 
is  c.illed  El  Re\  por  su  Semejauia,  and  it  is  attributed  to  Lope.  A 
play  entitled  El  Rey  por  su  lugeiiio  was  in  possession  of  Alonso 
de  Heredia  in  August,  1605.   Bull.  Hisp.  (i907)>  372.  [A^d-J/I 

'*Rey  (El)por  Trueque.  — MS.  copy  (Duran),  Cat.  B;  N.No. 
2912.  ci^-/V.^,5"^>r. 

Rev  (El)  Sin  Reyno.  —  P' ;  XX.  Lope  dedicated  this  play  to 
El  Capitan  Alonso  de  Contreras.  Concerning  the  friendship  be- 
tween Lope  and  this  soldier,  see  Morel-Fatio,  «  Soldats  Espagnols 
du  xvu'-  siecle  »,  Bull.  Hisp.,  Ill,  p.   141. 

Rey  (El)  don  Sebastian.  —  H.  (See  La  Trageclia  del  Rey  don 
Sebastian.) 

*  Reyna  (La)  de  Lesbos.  —  P ;  P\ 

Reyna  (La)  dona  Maria.  —  H;  Acad.  VIII;  the  MS.  [formerly 
in  the  Osuna  collection,  seems  to  have  disappeared.  Theautog. 
MS.  was  in  the  possession  of  Prince  Metternich,  according  to 
Wo\{ (Sit:^imgsherichle,  etc.,  Wien,  1855).  Of  this  MS.  Menendc/: 
V  Pelayo  wrote  to  me  as  follows  :  «  The  manuscript  of  Z.^  Reiiia 
dona  Maria  which  was  in  the  Osuna  Library,  is  the  same  one 
which  the  Princess  Metternich  of  Vienna  now  possesses,  and  it 
is  the  same  one  that  I  have  printed  in  Vol.  VIII,  Acad.  It  is  not 
an  autograph,  but  a  very  bad  copy,  in  spite  of  Wolf's  assertion 
to  the  contrary.  »  V.  also  Ztfl.  XXVI,  536.  Calderon's  Gustos 
y  Disgustos  no  son  mas  ijue  Iniaginacion  is  upon  the  same  subject. 
V.  Schaeffer,  II.,  28. 

Reyna   (La)  Juana  de  Napolcs.  —  \'I ;  S.   (Brit.  Mus.  Salva 

Ul?^  iMoJ'f-^-k    ^'""^/i-  '^"  ^•)'  ^^'^'-'^S-  VIIj  ""^''^^^^  ^'""^  ^"^'"^  El  inoustiuo  de  la  Forlu- 

'  'na,  and  ascribed   to  tres  ingenios.  S.  {El  niarido  hien  ahorcado); 

Acad.  VI.  Restori  says  :  «  In  the  Bib.  Naxionale  at  Naples  there 

is  a  MS.  of  Lope's  row^/fl  of  the  early  xvu  century,  which    was 


BIBLIOGRAPHY    OF    LOPE   DE   VEGA  235 

^idently  an  actor's  cop}^  as  the  two  licences  show  :  «  Represen- 
•se  esta  comedia  en.M''.  a  25  de  Margo  de  1617.  »  Zifl.  XXIII, 
52.  In  Escog.  XXIV,  there  is  a  play  entitled  EJ  inonslnio  dc 
Forliina,  la  Lavandcra  dc  Na poles,  Felipii  Cativica,  likewise  by 
is  iiigenios.  The  first  Act,  according  to  Vera  Tassis  {Cnldcnm, 
irte  V.)is  by  Calderon,  the  second  La  Barrera  says  is  by  Mon- 
Ivan,  and  the  third  by  Rojas.  It  is  entirely  different  from  Lope's 
ay. 

*  Reyna(La)  loca.  —  P.  (Doiia  Juana?  ). 

Rico  (El)  Avariento.  —  P.  There  is  a  coined ia  by  Mescua  so 
ititled  in  the  collection  ot  Autos  Sacramentales,  con  quatro  Come- 
as  niievas  y  siis  Loas  y  Entrcineses,  Madrid,  1655.  La  Barrera, 
ho  admits  that  he  had  never  seen  this  work,  distinguishes 
Mtdhgo,  p.  709),  between  El  Rico  Avariento  and  the  Vida  y 
hierte  dc  Ld~aro;  there  are  really  alternative  titles  of  one  and 
;e  same  play.  Under  the  second  title  the  piece  is  reprinted  in 
scog.  IX.  (1657),  and  here  also  it  bears  Mescua's  name.  A 
S.  copy  (Osuna)  of  Mescua's  plav  is  in  the  Bib.  Nac.  Cat.  No. 
^88;  see  also  Cotarelo,  Comedias  de  Tirso  de  Molina,  II,  xxxix. 
Rico  y  Pobre  trocados.  — ■  (See  Las  Flores  dc  Don  Juan.) 
Riqueza  (La)  mal  nacida.  —  (See  La  Pobrc~a  estiniada.) 

*  Roberto  (El).  —  P;  M. 

Robo  (El)  de  Dina.  —XXIII;  Acad.  III.   MS.  copv.   Cat.  B. 
.  No.  2924.  V.  Ztft.  XXII,  1 17. 
*Robo  (El),  de  Flora— ^__   iZ.yO-0  <H     "^  "   -- 

*  Rodulpho  y  Oton.~  — TT 

Roma  abrasada.  P^;  XX;  H.  IV.  ,  279;  Acad.  VI.  The  final 
irses  give  the  alternative  title  :  Las  Cnieldadcs  dcNeron-  Possibly 
is  may  be  identical  v/ith  the  Neron  cruel  noted  in  P.  V.  Ztft. 
XIII,  452. 

*Romulo  y  Remo.  —  P. 

Roncesvalles.  —  P.  This  appears  to  be  the  same  as  El  Casa- 
ientoen  la  Muerte :  v.  Ludwig.  Lope  de  Vegas  Dramen,  etc.  p.  3. 
*RoqueDinarte. — P-.  Probably  Roque  Guinart,  the  celebrated 


236  HUGO    A.    RENNERT 


bandolero,  mentioned  in  Don  Onixotc,  Pt.  II,  Cap.  LX.  V.  Clemen- 
cin's  long  and  interesting  note,  and  Don  Onixotc.  ed.  Rodrigue/C 
Marin,  Madrid,  191 3,    vol.  VIII,  p.  105. 

Rosario  (El)  de  losHijos  de  Maria.  — There  is  a  MS.  copy  or 
the  xvii  century  of  this  play,  from  tlie  Osuna  Library,  which 
Rocamora,  No.  1155,  says  is  an  aulo,  but  Paz  y  Melia  asserts  is  a 
fomedia  (Bib.  Nac.  Cat.  No.  2941  ).  It  is  now  published  in  Acad. 
Ill  :  under  the  title  Los  Hijos  de  Maria  del  Rosario.  See  also  Cat. 
B.  N.  No.  1528. 

Rufian  (El)  Castrucho.  —  P.  (See  El  Galan  Castrucho.^ 

Rustico  (El)  del  Cielo.  (El  Santo  Hermano  San  Francisco.) 
—  P^  ;  XVIII;  Acad.  \.  MS.  copy  (Parma).  Written  shortly 
after  1599,  and  represented  before  Philip.  Ill  and  Queen  Marga- 
rita. In  the  dedication  Lope  greatly  praises  the  actor  Salvador 
for  his  impersonation  of  el  hermano  Francisco.  V.  Acad.  V,  p. 
XXXIV  ;  Restori,  Ztft.  XXII,  279. 

Ruyseiior  (El)  de  Sevilla.  —  P';  XVII;  «  Representola  el 
tamoso  Rios  ».  MS.  copy  (Parma)  and  B.  N.  (Duran),  Cat.  No. 
2948.  It  is  founded  on  Boccaccio's  Decamerone,  V.  No.  4. 

S 

Saber  (El)  por  no  Saber,  y  VidadeSan  Julian  de  Alcala.  —  XXIII; 
Acad.V.V.  Ztft.  XXII,  279. 

Saber  (El)  puede  danar.  —  XXIII;  H.  III.  ///J 

Salida  (La)  de  Egipto.  — Schack,  Vol .  II,  p.  321,  says  that 
this  drama  forms  a  trilogy  wiih  El  Robo  de  Dina  and  Los  Traba- 
jos  de  Jacob.  Seethe  latter  play. 

*Salteador  (El)  agraviado.  —  P.  Mes.  Rom.  gives  the  title 
as  El  Salteador  agradecido. 

*  San  Adrian  y  Santa  Natalia.  —  P-.  This  title  appears  in 
the  alphabetical  index  of  coniedias  for  sale  by  the  heirs  of 
the  bookseller  Francisco  Medel  del  Castillo  in  11^35,  showing 
that,   at  that    time,    the    play  was  still    in    existence,   either  as 


BIBLIOGRAPHY    OF    LOPE   DE    VEGA  237 

L  MS.  or  as  a  suelta.  M.  y  P.  Restori  says  that  tlie  comcdias  of 
vlatos  :  Los  dos  Prodigios  deRoma  has  all  the  appearance  of  being  a 
c-cast  of  Lope's  San  Adrian  y  Saul  a  Natalia.  Zlft.  XXII,  294. 
San  Agustin  (El  divino  Africano). —  P';  XVIII;  MS.  copy 
'Duran),  Cat.  B.  N.  No.  3164.  The  Duran  MS.  was  reported  to 
36  an  autograph,  but  this  seems  to  be  an  error. 

*  San  Andres  Carmelita.  —  P. 

*  San  Angel  Carmelita.  —  P-.  This  play  was  still  in  existence 
n  1735,  and  is  announced  in  the  sale  catalogue  of  the  bookseller 
VIedel  del  Castillo.  This  may  possibly  be  identical  with  the  pre- 
;eding  piece. 

San  Antonio  de  Padua.  —  P-.  See  Cat.  B.  N.  No.  956  ;  on 
the  two  comedias,  entirely  distinct,  entitled  El  divino  Portugues, 
mdboth  ascribed  toMontalvan,  see  Ztft.  XXII,  294.  Medel  cites 
this  play  in  his  Catdlogo. 

San  Basilio  el  Magno.  —  MS.  (Holland).  (See  La  gran  Coliini- 
na  fog  OS  a . ) 

San  Benito  de  Palermo.  —  (See   El  Sanlo  Negro  Rosambnco.)  \j.LiJr>.d 

San  Diego  de  Alcala.  —  Escog.  Ill;  S.  (Brit.  Mus.;  J.  R.  C,<^^-^-^'f^^. 
and  Holland);  H.  IV..  515  ;  Acad.  .V  v.  Ztjt.  XXII,  277. 

San  Francisco.  —  (See  El  Serafin  huniano.) 

San  Gines  Representante.  — (See  Lo  Eingido  verdadero.) 

San  Ildefonso.  —  (See  El  Capellan  de  la  Firgen),  and  Ztft. 
XXII,  275. 

San Isidro  Labrador  de  Madrid.  —  (P-.  San  Isidro  de  Madrid); 
VII;  Escog.  XXVIII;  Acad.  IV;  MS.  copy  Cat.  B.  N.  No.  3013. 
A  play  entitled  San  Isidro  Labrador  de  Madrid  y  Victoria  de  las 
Navas  de  Tolosa  por  el  Rey  D.  Alfonso  :  San  Se^undo,  is  noted  in 
the  Inventario,  p.  104.  Chorley,  assuming  it  to  be  a  different  play 
from  that  in  Escog .  XXVIII,  marks  it  as  doubtful .  There  is  a 
MS.  of  this  play  in  the  Bib.  Nac.  No.  545%  referred  to  in  No. 
3013  if'w,  ascribed  to  Lope  de  Vega,  but  the  opening  and  closing 
verses  show  that  it  is  an  entirely  different  play. 

San  Isidro.  —  (See  La  Nine:^  and  La  Jiiventud  de  San  Isidro.) 
Ztft.  XXII,  277. 


2}^  HUGO    A.    RENNERT 


San  Jeronimo.  —  (See  EI  Cardenal  dc  Beloi). 

San  Jorge.  —  Doubtful.  Coiiwilia  (MS.)  ascribed  to  Lope  de 
\'ega  ,  in  possession  of  the  anior  de  comcdias  Juan  Jeronimo 
Almella  in  1628,  in  Valencia.  Bull.  Hisp.  VIII,  378  :v.  Cal.  B. 
X.  No.  2030. 

>   San  Josafat,  el  Prodigiode  la  India.  —  Mes.  Rom.  ;  H.  (anon.) 
Doubtful.  It  may,  however,  be  another  title  for  Barlan  y  Josafa. 

San  |uan  de  Dies.  —  (See  Juan  de  Dios.) 

San  Julian.  —  (See  El  Animal  profeta.')  A  comcdia  entitled 
San  Julian  was  represented  by  Tomas  Fernandez  on  June  26,1626. 
V.  Mod.  Lang.  Rcv.,\l\,  52. 

San  Julian  de  Alcala  de  Henarcs  (La  Vida  de  San  Julian,  lego 
dc  Alcala).  —  (See  El  Saber  por  no  saber.)  —  Pa«  XXIII;  Acad. 
V ;  MS.  copy  (Osuna),  Cat.  B.  N.No.  3018.  V.  Ztjt.  XXII,  279. 

*  San  Julian  de  Cuenca.  —  P. 

*San  Martin.  —  P-.  Cited  in  the  Catahh^ue  of  Medel  del  Cas- 
tillo. There  is  a  MS.  comediain  a  volume  formerly  in  the  Duran 
collection,  (^Cat.  B.  N.  No.  543,  four  play)  entitled  Elglorioso 
San  Martin.  Can  this  possibly  be  Lope's  play  ? 

San  Nicolas  de  Tolentino.  —  XXIV,  Zaragoza,  1641  ;  Acad. 
IV.  S.  (Gayangos).  ZtJt.  XXII,  276.  The  closing  verses  give  the 
alternative  title  of  El  Santo  de  los  Milagros.  The  comedia^j// 
Nicolas  in  P-  is  probably  the  same.     , 

San  Pablo,  Vaso  de  Eleccion.  —  H.  Sancho  Rayon's  MS.  copy 
is  entitled  Vasode  Eleccion  :  San  Pablo.  V.  Faso  de  Eleccion. 

San  Pedro  Nolasco.   —  (See  La  Vida   dc  San  Pedro  Nolasco.) 

*San  Roque.  —  P.  x.Ztft.  XXII,  294. 

San  Segundo  de  Avila  .  —  P;  Acad.  IV;  MS.  copy  dated  Alba 
de  Tormes,  August  12,  1594  :  it  is,  therefore,  one  of  the  oldest 
plays  of  Lope  that  have  been  preserved.  Cat.  B.  N.  No.  3023.  V. 
La  Barrera,  Nueva  Biografia,  271. 

*San  Tirso  de  Lspaha.  —P.  A  coinedia  entitled  Tir:{0  (sic)  was 
in  possession  of  the  anlo>-  de  comedias  Juan  Jeronimo  Almella  in 
Valencia  in  1628.  \'.  Bull.  Hisp.  VIII,  378. 


BIBLIOGRAPHY    Or    LOPE    Dli    VEGA  2^9 


*Santa  Brigida.  —  M ;  H.  according  to  Mcnendez  y  Pelayo  this 
may  possibly  be  the  same  phiy  as  La  Liinpie~a  no  manchada  (q.  v.) 
among  the  personages  of  which  this  Saint  figures.  Acad.  V..  p. 
Ivii. 

Santa  Casilda.  — H  ;  MS.  copy  (Osuna),  Cal.  B.  N.  No-  3029, 
the  fly-leaf  of  which  reads  «de  Phelipe  de  Medina  Pores  »,  which 
is  erased  and  Lope's  name  is  substituted.  Rocamora,  No.  1201. 
The  second  title  of  Tirso  de  Molina's  comedia  Los  Lacros  dc  San 

o 

Viccnlc  (printed  in  his  Parte  V)  is  Sanla  Casilda.  This  is,  iiow- 
ever,  entirely  different  fromLope's  play.  See  Restori  Ztfl.  XXII, 
293;  Cotarelo,  Comedias  dc  Tirso  de  Molina,  11,  xxv,  who  gives 
a  brief  analysis  of  the  play  in  the  above  MS.    */^-c.-aV-   /V>  JZ,  5~G  a. 

Santa  (La)  Liga.  —  XV.  P.  (La  Batalla  naval);  Acad.  XII; 
«  Representola  Pinedo  y  a  Selin  famosamente  » .  Lope.  The 
original  title  ot  this  play  is  the  one  under  which  it  is  noted  in 
P.  -.La  Batalla  naval,  wich  now  appears  in  the  concluding  verses 
of  the  play.  Cervantes  Batalla  naval,  now  lost,  doubtless  treated 
the  same  event,  in  which  he  was  an  actor  on  that  memorable 
October  7,1571.  v .  Ztft.  XXXI,  466 .  /  f 

*  Santa  Polonia.  —  M;  H.  '  ^ 

Santa  Teodora.  M;  H.  (See  El  Prodigio  de  Etiopia .) 

Santa  Teresa  de  Jesus  .  —  H ;  (see  La  Madre  Teresa  de  Jesus, 
and  Vida  y  Mucrle  de  Santa  Teresa  de  Jesus)  . 

Santa  Ursula  y  las  once  mil  Virgenes.  Doubtful .  (See  Las 
Once  mil  Firgines.) 

Santiago  el  Verde.  — P- ;  XIII;  «  Representola  Riquelme  ». 
MS.  autog.  (Brit.  Mus.)  of  only  a  portion,  dated  1615.  See 
Rennert,  Mod.  Lang.  Notes,  June,  1893.  MS.  copy  (Osuna), 
Cat.  B.  N.  No.  3039  ;  Rocamora,  No.  12 12.  «  Decian  Santiago 
el  Verde  a  Santiago  el  menor,  cuya  fiesta  celebra  la  Iglesia  el 
dia  1°  de  Mayo  ».  A.  Fernandez-Guerra,  in.  Gallardo,  Ensayo,  I, 
p.  1388  ;  and  see  Julio  Monreal,  Cuadros  viejos,  306. 
<ianto  (El)  de  los  Milagros.  (See  San  Nicolas  de  Tolentino.) 

*Santo  (El)de  Valencia.  —  P-. 


240  HUGO    A.    RENNERT 


/.''• 


:i, 


Santo    (El)    Hermano    Francisco.    —  (See    El    Riistico    del 
.,^''   Cielo.) 
])  Santo  (HI)  Xei^ro  Rosambuco  de   la    Ciudad  de  Palermo.  — 

A  P'  :  (El    Santo  Negro.)  Given  with  the  title  of  Vida  y  Mucitc 

T^     lo'l  del  Santo  Nei:^ro  llaniado  San  Benito  de    Palermo,  in  the  7^7/'//?  of 

jL^  Coniedias  de   Lope  de  Vega  y  otros  Aulores,  Parte  III.    Barcelona, 

i6i271etc.  Acad.  IV.  The  Osuna  MS.  hearing  this  title  is 
ascribed  to  Lope  by  Rocamora,  No.  12 14;  Paz  y  Melia,  Cat. 
B.  N.  No.  2290,  says  that  the  play  contained  in  this  MS.  is  by 
Luis  \'elez  de  Guevara,  who,  in  fact,  mentions  his  name  at  the 
end.  A  MS.  copy  at  Parma  attributes  it  to  Lope.  v.  Ztjt .  XXII, 

276. 

Santo  (El)  Nino  de  la  Guardia  :  Segundo  Cristo.  —  MS. 
copy  Cat.  B.  N.  No.  3041.  This  MS.,  from  the  Duran  collec- 
tion, is  doubtless  the  one  that  was  supposed  to  be  an  autograph. 
(See  El  Nino  inocenie  de  la  Guardia). 

*Santo  Tomas  de  Aquino.  —  P-  ;  v.  Restori,  Ztji.  XXII, 
294,  who  thinks  Lanini's  El  Angel  de  las  Escuelas  may  be  a 
re-cast  of  Lope's  play. 

*Sarracinosy  Aliatares.  —  P.  v.  Ztft.  XXX,  226. 

Satisfacer  callando  (S.  Holland)^  y  Princesa  de  los  Montes,  6 
Los  Hermanos  encontrados.  —  Escog.  W,  Zaragoza.  1653. 
Doubtful.  In  Escog.  XXXVII  (1671),  it  is  attributed  posthu- 
mously to  Moreto,  and  again  in  his  Coinedias,  vol.  Ill,  i68r. 
But  Chorley  fails  to  see  any  trace  of  Moreto's  manner  in  the 
play.  See  above,  pp.49  and  51.  Schaetler  (II,  169)  says  that 
this  play  seems  to  be  rather  by  one  of  Lope's  disciples,  than 
by  the  master,  but  that  it  in  nowise  reads  like  a  play  of 
Moreto's. 

Secretario  (El)  de  si  mismo.  —  P- ;  VI ;  MS.  cop}'(Osuna)  of 
Acts  I  and  II.,  Cat.  B.  N.  No.  3057.    v-   ^f^/  //K/^^^^' 

*Secreto  (El)  bienguardado. —  P-. 

Selva  (La)  confusa. —  H ;  Tomo  133  (Osuna),  If.  81-100, 
Schack  {Nachlrdge,  p.  86)  says  there  is  a  MS.  entitled  La  Selva 


BIBLIOGRAPHY    OF    LOPE    DH    VKGA  24 1 

wifusa,  in  the  Osuua  library;  that  this  MS.  is  signed  by  Cal- 
Jeron,  but  that  he  suspected  the  genuineness  of  the  signature. 
He  further  says  :  «  In  the  above-mentioned  hbrary  there  is  an  old, 
v^ery  rare  print  of  this  comedia,  in  which  it  is  ascribed  to  Lope 
de  Vega,  but  that  this  ascription  is  certainly  erroneous,  for  the 
piece  is  by  no  means  written  in  Lope's  style,  as  the  verses  at  the 
very  beginning  show.  »  The  verses,  however,  which  Schack 
quotes,  are  from  the  MS.,  not  from  the  print  in  the  Osuna  library. 
Schack  does  not  say  that  he  read  the  old,  rare  print  in  the 
Osuna  Library,  but  speaking  of  the  MS.,  he  says  :  «  There 
is  an  old  impression  of  this  comedia  in  the  Osuna  library  », 
etc.,  not  :  «  there  is  an  old  impression  of  a  play  entitled  La 
Selva  conjusn  ».  If  Schack's  statement  is  accurate,  then  all 
discussion  is  at  an  end,  for  the  Selva  coiijusa  of  the  MS.  is 
lertainly  by  Calderon,  and  hence  the  play  in  the  Osuna 
Library  (Tomo  133)  is  also  by  Calderon.  But  Schack  is  not 
infallible  (as  his  ascription  to  Lope  of  that  farrago  of  nonsense 
El  nuevo  Pitagoras  shoves)  2iwdi\\Q  may  simply  have  recalled  the 
same  title  that  he  had  read  in  the  Osuna  volume.  Schack 
thought,  in  fact,  that  this  MS.  of  La;  Selva  Coiijusa  might  be 
Calderon's  Certamen  de  Amor  y  Celos.  La  Barrera  believes  that 
this  is  a  mistake,  on  the  ground  that  the  above  play  appeared  in 
Parte  XXVII,  extravagante,  Barcelona,  1633,  while  Calderon's 
drama  Certamen,  etc.  was  not  written  till  1640.  I  shall  not  here 
repeat  Chorley's  doubts  conterning  the  existence  of  these 
Paries  extravaganles,  for  they  are  given  on  a  previous  page, 
where  these  Partes  are  discussed.  Their  existence  is  immaterial 
in  the  present  issue.  The  simple  fact  is  that  there  is  a  Selva  cou- 
fiisa  ascribed  to  Lope,  in  a  fragment  ot  a  volume  in  the  Osuna 
hbrary.  If  this  play  is  the  same  as  the  play  in  the  Osuna  MS. 
{Cat.  B.  N.  No.  3071),  then  it  is  Calderon's.  Only  an  exam- 
ination of  the  play  in  the  Osuna  volume  133,  can  decide  the 
matter,  and  though  I  have  inquired  for  the  volume  repeatedly, 
I  have  never  been  able  to  see  it.  It  has  been  used  by   Menendez 

REVUE    HISPANIQUE.    G.  '6 


242  HUGO    A.    REN'NHRT 


y  Pelayo  in  preparing  the  Academy's  edition  of  Lope  de  Vega  : 
I  am  assured  that  it  is  not  in  the  BibUoteca  Nacional  now.  The 
only  inference  to  be  drawn  is  that  the  Osuna  volumes  are  per- 
haps in  Santandcr,  and  that  they  have  passed  into  the  possession 
of  the  city  with  the  other  books  of  Sr.  Menende/  y  Pelayo.  The 
question  of  the  authorship  of  La  Selva  Cmfiisa  is  very  clearly 
and  ably  discussed  by  G.  T.  Northup  in  his  edition  of  Calderon's 
Selva  confusa  {Revue  Hispaniqiie,  XXI),  who  believes  that  a 
Selva  confusa  by  Lope  never  existed . 

Selva  (La)  de  Albania.  —  (See  La  Pastoral  de  Jacinto). 

Selva  (La)  sin  Amor.  —  In  Laurel  de  Apolo  (1630)  ; 
Acad.  V  :  it  was  represented  in  the  Royal  Palace  in  1629.  Ibid., 
p.  Ixix. 

Selvas  y  Bosques  de  Amor.  —  XXIV,  Zaragoza,  1633.  MS. 
copy  (Parma).  It  was  represented  before  the  King  on  May  7, 
1623,  by  the  company  of  Manuel  Vailejo.  Mod.  Lang.  Rev.  Ill, 
52. 

Sembrar  (El)en  buena  Tierra.  —  P- ;  X;  S.  (J.  R .  C);  MS. 
autog.  Brit.  Mus.  dated  January  6,  161 6,  with  a  license  at 
Madrid,  January  12,  1616.  I  copied  this  MS.  many  years  ago; 
the  variations  from  the  printed  edition  are  unimportant.  Copy 
(Parma  and  Osuna),  Cat.  B.  N.  No.  3073  ;  Rocamora, 
No.   1228. 

*Semiramis  (La).  —  P. 

Serafin  (El)  humano.  —  San  Ffancisco.  —  P- ;  XIX  (El  Se- 
rafin  humano);  Acad.  IV.  MS.  copy  (Parma).  As  the  conclud- 
ing verses  show,  this  is  Part  I;  possibly  Part  II,  was  the  piece 
mentioned  by  Huerta  :  Gloria  de  San  Francisco.  This  latter  play 
seems  to  be  lost.  Restori  thinks  the  play  entitled  Milagros  del 
Serafin,  by  the  well-known  actor  Alonso  de  Osuna,  may  be  a 
recast  of  it.  v.  Fida  y  Muerle  del  glorioso  ybienaventnrado  Padre  San 
Francisco  ;  Zift.  XXII,  276,  292. 

*Serrana  (La)  de  Burgos.  —  P^ ;  (Parts  I,  and  II). 

Serrana  (La)  de  Tormes.  —  P;  XVI.  MS.  copy  (J.  R.    C). 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  24^ 

Lope  says  that  this  is  an  early  play ;  but  he  would  seem  to  have 
re-touched  it  before  publication,  for  the  character  of  Tarreno, 
Capigorron,  might  pass  as  -a  Jigura  del  douayre.  Salva  {Cat.,  I, 
649),  possessed  an  ancient  MS.  of  this  play. 

Serrana  (La)  dc  la  V^era.  —  P;  VII  ;  Acad.  XII.  v.  Fernandez- 
Guerra,  Alarcon,  p.  377 ;  Restori^  Z///.  XXXI,  487.  The  auto- 
graph (dated  1603)  of  Velez  de  Guevara's  play  with  this  title, 
—  the  earliest  known  of  his  comedias  — is  noted  in  Cat.  B.  N.  No. 
3096.  The  discovery  of  this  autograph  is  a  testimony  to  Chor- 
ley's  critical  acumen  :  the  extravagance  of  Leonarda's  character, 
and  the  irrelevancy  of  several  scenes,  lead  him  nearly  fifty  years 
ago  to  reject  the  ascription  of  the  work  to  Lope.  v.  :\\so  Anlologia, 
IX,  .209 . 

Servir  a  Buenos.  —  XXIV,  Zaragoza,  1641;  H.  II.,  ^25  ;  S. 
(Brit.  Mus.  Gayangos,  H.  A.  R.).  rj M  T-  i^iroS-f  )^^-  Uv-^^^'^'^^.  ^  ^'- 

Servir  a  Senor  discreto.  —  P-  ;  XI  ;  H.  IV.,  69  ;  MS.  copy 
(Parma).  Founded  on  a  novel  (Dec.  VI,  Nov.  7)  of  Giraldi 
Cinthio.  Schaeffer,  II,  317. 

Servir  con  mala  Estrella.  —  P^  VI;H.IV,  57.  S.  (Brit.  Wi'^.^^^T- i^^^-^,  ^^ 
and.  J.  R.  C.).  There  is  also  a  smlta  at  Parma  :  Sevilla,  viuda  de 
Francisco  Lorenzo  de  Hermosilla,  attributed  to  Enriquez  Gomez. 
Restori,  Una  Coll.  14.  Chorley  notes  that  this  play  may  be 
regarded  as  the  prelude  to  La  desdichada  Estefania  ;  it  deals  with 
the  loves  of  King  Alfonso  VIII  (1106-1151)  and  Doiia  Sancha, 
who  is  the  mother  of  Estefania.  The  play  is  founded  on  Boc- 
caccio's Decainerone,  X,  i . 

Si  no  vieran  las  Mugeres !  —  In  Vega  del  Parnaso,  and  (accord- 
ing to  Fajardo)  in  Parte  V,  of  Lope,  printed  at  Sevilla;  Obras 
sueltas.  Vol.  X;H.  II.,575;MS.  copy  Ca/.  B.  N.  No.  3106.  S.  ^ 

Brit.    Mus.    and   jSayangos).    Represented   by    Luis   Lopez    ^^^  '~'^^;'^' ^^I^/  J^ 
Aranjuez  on  May  i,  1633,  and  by  Juan  Martinez  on  October  5, 
1635.  Mod.  Lang.   Rev.  Ill,  53.  There  is  a  reference  to  the  old 
age  of  Belardo  on  fol.  276.  Schaetfer  (I,  151)  calls  this  play  one 
of  Lope's  masterpieces. 


244  HUGO    A.    RENNERT 


*Sierra  (La)  de  Espadan.  —  P.  aTendria  por  asunto  la  ultima 
rebelion  de   los    Moriscos  del  reino  de  Valencia  ?    »  -M.  y  P. 
Acad.  V,  xlii, 
^  Sierras  (Las)   de   Guadalupe.  —  H  ;    Tomo    131  (Osuna)  ; 

A  ^^  S.  (J.  R.  C,  Salva  (I,  6j^),  and  Parma).  ~ 

Siete  (Los)  Infantes  de  Lara.  — P-(See  El  Bastardo  Mudarra.) 
Fajardo  savs  that  this  play  appeared  «  en  su  Parte  /V  anti- 
gua.   » 

Siiencio  (El)  agradecido. — DiJ.  XXXI,  Barcelona,  1638 
(anon.);  fragment  of  this  volume  (J.  R.  C),  ascribed  to  Lope 
bv  Gamez  and  Casal,  apparently  with  the  assent  of  La  Barrera 
{Caldlogo,  pp.  583  and  685).  Munch-Bellinghausen  suspects  it 
to  be  the  work  of  Francisco  Toriuio  Ximenez,  who  collected 
the  plays  in  Dif.  XXXI.  A  good  play;  but  in  Chorley's  opinion, 
too  artificial  for  Lope. 

Sin  Secreto  no  ay  Amor.  —  H  ;  S.  (Rennert),  ascribed  to 
Montalvan.  MS.  autograph,  Brit.  Mus.,  dated  July  18,  1626, 
with  licenses  at  Madrid,  August  11,  1626;  Zaragoza,  November 
13,  1626  and  Granada,  April  28,  1630.  Published  by  Hugo  A. 
Rennert,  Baltimore,  1894.  ^^  ^^'^^  represented  by  Roque  de 
Figueroa,  November  21,  1629. 

Soberbia  (La)  de  Aman.  ^  (See  La  hermosa  Ester). 

Sol  (El)  parado.  —  P  ;  XVII;  «  Representola  Rios  ».  Acad. 
IX;  MS.  copy  (Parma).  According  to  Fajardo  another  title  ot 
this  play  is  Ascendencia  de  los  Macslres  de  Santiago.  Mariana  refers 
to  the  miracles,  V,  120,  lib.  xiii,  cap.  20.  This  play  has  no 
figttra  del  donayre.  There  is  a  coinedia  with  the  same  title  by 
Enriquez  Gomez,  v.  Ztft.,  XXVIII,  231. 

Soldado  (El)  Amante.  —  P  ;  XVII  ;  MS.  copy  (Parma). 
«  Representola  Osorio,  Autor  antiguo  y  famoso  ».  These  words 
of  Lope's  show  that  this  coinedia,  though  not  printed  till  1621, 
belongs  to  the  last  decade  of  the  sixteenth  century,  or  even  a 
little  earlier.  It  may  be  added  that  in  El  Percgritio  (fol.  263) 
Lope  says    that   it    was   also  represented  by  [Diego    Lopez  dej 


BIBLIOGRAPHY    OF    LOPE    DE   VEGA  245 

Alcaiaz  [son-in-law  ofRodrigo  Osorio),  «  unico  rcprcscntantc 
y  de  sutil  ingenio.  ». 

Sortija  (La)  del  Olvido.  —  P^  (La  Sortija  del  Olvidado)  ; 
XIL  MS.  copy  (Parma). 

Sucesos  (Los)  de  don  Beltran  de  Aragon.  —  (Sec  Lis 
}diidan:^as  de  Fort  una}. -~Jux4^i^_^_^-^ 

Suenos  hay  que  son  Verdades.  —    H;    (See  Los  Trabajos  de  i~^^\  d^^^ 

Suerte  (La)  de  los  Reyes,  6  Los  Carhoneros.  —  P  ;  H  ;   MS.  ^  .      "      ,, 

copy  (Duran)  ot   the  last  two   Acts  in  Ca\.   B.  N.  No,    3192.  ^cm-U 

There  is  a  play  by  Mescua,  Los  Carhoneros  deFrancia,  in  Escog.  .^o^/;  71^7', 

XXXIX.  ^  ^r^  /^U^T-^^ 

Sufrimiento  (El)  del    Honor.   — H;    Dif.  XXXII,  Zaragoza,  -'     f-nU/i^.  y 

16^0  ;  fragment  of  this  volume,  (pp.    296-330)'].  R.  C.  and  "jf^y^^u>^^ f>-  ^ 


Holland,  wrongly  described  as  a  snclta.  This  play  has  no  figura       -^   ^-^va^ 
del  dona  yre. 
'^    Sufrimiento   (El)    prcmiado.    —  P.    A    play   with   this  title 
appears  in  the  second  volume  of  Montalvan's  Cam^ifw^   (1638). 
V.  Bacon,  Life  and  Works  of  Montahan,  pp.  410,  ff.  //^^-^^  -^  ^     '^ 

T 

Tanto  hagas  quantii  pagues.  —  H;  S.  (Brit.  Mus.  Arl.,  ].  R. 
C,  and  Parma).  In  the  third  and  posthumous  volume  of 
Moreto's  Comedias,  Madrid,  1681,  this  piece  is  included  under 
the  title  La  Traicion  vcngada.  As  a  s/ielta  entitled  No  ay  P}a~o 
que  no  se  llegue  ni  Deuda  que  no  se  pague,  it  is  attributed  to 
Jacinto  Cordero.  v.  Restori,  Una  Coll.,  p.  15.  Chorley  is  in- 
clined to  favor  the  ascription  to  Lope,  v.  Litteraturblatt  f.  germ, 
u.  roman.  Philologie  (1889),  pp.  68-69,  and  (1892),  p.  197  ; 
Schaeffer,  II,  169,  who  thinks  that  Moreto  may  have  re-cast 
Lope's  play. 

Tellos  (Los)  de  Meneses.  —  XXI;    H.  1.,  67  ;  Acad.  VII. 


«  The  play  now   called    the  First  Part,, was  printed  in  1635  in 


fj 


>_j6  HUGO    A.    RENNERT 


tlie    Vcinte  y    una  Parte  verdadera   de    Lope.  The   second  Part, 

v/^7^/^  >^a^    entitled  Valor,  Fortuua  y  Leal  tad  dc  los  Tellos  de  Mencses,  is  only 

.  ;.A  /A<r/''^*^"**'  {q^jiiJ  iji    siiellas/».    M.  y  P.    Acad.   VII,    civ.     According   to 

Hartzenbusch,    the  ancient  siiella  which  he  used  for  his  text  of 

the  Second  Part,  bore  the  title  :   Falor,,  Fortunay  Lealtad  de  los 

Tellos  de  Meneses,  and  he  adds  that  in  the  modern  editions  it  is 

<^'^-  ^^i(  24  '-  called  :  Valor,  Lealtad  v  Ventura  de  los  Tellos  de  Meneses/  Ses,unda 

;jjjf)- l*~    Parte.  Hartzenbusch,  Cowcif/rt'.f  ^c  Z-o/>^,  I,  545  ;  Miinch-Belling- 

/ -/    -7--/^    hausen,  p.    154.  Hartzenbusch  doubts   the  authenticity  of  this 

P     ^.^     Second    Part ;  as  does  Schaeffer  (I,  140)  ;    not  so  Menendcz  y 

I*"-  /'-^l^'  Pelayo,  who  publishes  it  in  vol.   VII.  v.  Ihid.,  clxxi.  Menendez 

j^^  i^'V^  thinks    Hartzenbusch   is  mistaken  in    fixing   1625  as  the    date 

of  this  Second  Part.  v.  Restori,  Z//>.  XXVI,  499. 

*    Templo  (El)  de  Salomon.  —  M  ;  H.  Fajardo  likewise  notes 

it,  and  further    mentions  a  play  by  Alvaro  Cubillo  de  Aragon 

entitled  El  niejor  Rey  del  Mundo,  y  Templo  de  Salomon,  which  he 

reports  as  being  «  en  la  Parte  V  de  Lope,  impresaen  Sevilla  ». 

Tercera  (La)  Orden  de  San  Francisco.  —  Acad.  V.  Written 

by  Lope  in  collaboration  with  Montalvan  (see  the  latter's  Fania 

postumd).  MS.  copy  Bib.  Nac.  No,  3227,  entitled  Z,05-  Terceros  de 

San  Francisco,  v.  Zljt.  XXII,  282. 

Testigo  (El)  contra  si.  —  P^;  VI. 

Testimonio  (El)  vengado.  —  P;  I;  H.  Ill,  403 ;  Acad.  VII. 
(See  Conw  se  vengan  los  Nobles.)  W.  Ztft.  XXXVI,  657,  where 
the  text  of  a  modern  MS.  in  the  library  at  Gotha  is  published  by 
Senary,  which  differs  considerably  from  the  printed  versions. 
The  MS.  is  only  a  fragment,  but  its  variant  readings  arc  import- 
ant. Speaking  of  Moreto's  Como  se  vengan  los  Nobles,  D.  Luis 
Fernandez-Guerra  says:  Lope  de  Vega  had  previously  treated 
the  same  historical  theme  in  El  Testimonio  vengado  with  that 
beauty  and  simplicity  of  style  which  distinguish  him,  but  with 
great  confusion  of  the  plot.  Comedias  de  Moreto  (Bib.  de  Aut. 
Esp.),  p.  XXXI.  Menendez  y  Pelayo  says  :  «  Moreto  recast  Lope's 
play,  or  rather  he  imitated  it  freely,  under  the  title  Como  slf 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  247 

vengan  los  Nobles,  at  the  same  time  greatly  improving  the  plot.  » 
Acad.  VII,  cclvi. 

Tirano  (El)  castigado.  —  P ;  P'  ;  IV.  This  play  has  no  figttra 
del  dofiayre.  With  the  same  title  there  is  a  coniedia  by  Diamante 
in  Escog.  XXXVI. 

*Todo  es  facil  a  quien  ama.  —  P^  This  play  is  mentioned  in 
Lope's  Loo-   sacramental  de  los   TItulos  de    Comedias,  Acad.    Ill, 

XXIII. 

Toledano  (El)  y  Celoso  vengado.  —  MS.  copy  (Osuna), 
Cat.^.  N.  No.  3270;  Rocamora,  No  1285,  as  i:/  Toledano  ven- 
gado, under  which  title  Huerta  cites  it.  The  concluding  lines  of 
the  Osuna  MS.,  in  fact,  give  the  title:  El  Marido  engahado;  el 
Toledano  vengado.  There  is  a  MS.  copy  at  Parma  entitled  Trato 
de  Toledo,  Toledano  vengado,  which  may  perhaps  be  the  same  play. 
Restori,  p.  32.    t/^-^Lav-  /V<  -^  S^^^ 

*Toma  (La)  de  Alora.  —  P. 

Toma  (La)  de  Longo  por  el  Marques  de  Santa  Cruz.  —  P^ ; 
M ;  (see  La  Niieva  Vitoria  del  Marques  de  San  Cru^  in  Parte 
XXV.) 

Toma  (La)  de  Toledo.  (See  El  Hijo  por  Engaho.) 

Tomada  (La)  de  Valencia.  (See  Las  Haiahas  del  Cid.)  The 
play  is  almost  certainly  not  by  Lope.  V.  p.  12. 

*Tonto  (El)  de  la  Aldea.  —  P. 

Torneos  (Los)  de  Aragon.  —  P;  IV.  S.  (Gayangos).  This 
play  has  no  figura  del  donayre. 

*Torneos  (Los)  de  Valencia.  —  P. 

*Torre  (La)  de  Hercules.  —  P. 

Trabajos  (Los)  de  Jacob,  6  Suenos  ay  que  Verdad  son.  — 
M;  H;  XXII,  Madrid,  1635,  Second 'Part  only.  v.  Schack, 
Vol.  II,  p.  321.  (See  La  Salida  de  Egipto  and  El  Robo  de  Dina). 
Under  the  title  Suenos  ay,  etc.,  the  play  has  been  attributed  to 
Calderon.  MS.  copy  (Osuna)  Cat.  B.N.  No.  3294;  Rocamora, 
No.  1300.  S.  (Brit.  Mus.).  Acad.  III. 
-)-  Tragedia  (La)  por  los  Celos.  —  According  to  Nicolas  Anto- 


248  HUGO    A.    RENNERT 


ni(^  this  plav  appeared  in  the  vanished  Parte  XXI\',  Madrid, 
1640.  This,  in  all  probability,  is  the  play  by  Guillen  dc  Castro, 
of  which  there  is  a  MS.  in  the  Bib.  Nac.  Cal.  No.  3299,  declar- 
ing at  the  end  that  the  play  was  finished  by  Guillen  de  Castro 
on  Dec.  24,  1622,  and  that  it  was  written  for  Antonio  de  Prado. 
Published  in  Libras  raros  0  curiosos,  Madrid,  1878.  \yi i/^^yvy-ii  jf-doHiH 

*Tragedia  de  Aristea.  —  P. 

Tragedia  (La)  del  Rey  don  Sebastian,  y  Bautismo  del  Prin- 
cipe de  Marruecos.  —  P;  XI;  Acad.  XII.  MS.  copy  (Parma). 
A  few  jests  are  assigned  to  Zulema  and  to  the  villano  Alfonso, 
but  there  is  no  true  fignra  del  donayre  in  the  play.  The  baptism 
of  Prince  Muley  Xeque  took  place  in  1593,  says  Casiano  Pellicer, 
who  adds  that  in  1602  the  Prince  frequented  the  Madrid  theatres. 
Was  it  with  the  object  of  seeing  the  representation  of  his  con- 
version ?  He  died,  as  Pinelo  informs  us,  while  serving  with  the 
Spanish  army  in  Flanders.  This  is  probably  the  same  play  as  La 
Perdida  del  Rey  don  Sebastian  represented  before  the  Queen  in 
October,  1622,  by  Cristobal  de  Avendano.  v.  also  Zlft.  XXXI, 

Trato  (El)  de  Toledo,  v.  El  Toledano  vengado. 

Traicion  (La)  bien  acertada.  —  P  ;  L 
jk'Trato  (El)  muda  Costumbres.  —  M;  H.  According  to  Fajardo 
this  play  appeared  in  Parte  XXVIII,  extravagante,  Zaragoza, 
1639.  Antonio  de  Mendoza  wrote  a  ^ow^^/^  with  the  same  title 
and  Chorley  believes  that  this  is  the  piece  wrongly  ascribed  to 
Lope  by  Medel  and  Huerta. 

*Tres  (Los)  Consejos.  —  P-.  Juan  Jcronimo  Almella,  aulor 
de  comedias  in  Valencia  in  1628,  possessed  a  MS.  of  this  play 
attributed  to  Lope.  BitU.  Hisp.  VIII.  378. 

Tres   (Los)  Diamantes.   —  P;    II;  S.   (Brit.   Mus.,  Arl.)  In. 
some  impressions  of  Part  II  a  passage  in  Act  III  is  transposed. 
It  occurs  in  the  scene  between  Lisardo  and   Enrique,    after  the 
verse  —  «  En  fin  ya  somos  casados  ».  At  this  point  Crispin  comes 
forward  with  the  question  —  «  Quien    llama?  »  This  scene  — 


BIBLIOGRAPHY    OF    LOPE   DE    VEGA  249 

as  far  as  the  words  «  Este  en  buen  hora  »  —  should  be  placed 
earlier,  at  the  end  of  the  colloquy  between  the   Duke  and   Leo-  ^ y 

nato.  This  closes  with  Leonato's  words  —  «    ha  de  la  (;asa,  ha  ^  ^-^'  ^Cf 
gente  »  —  which  gives  Crispin  the  cue  for  his  entry  and  question  ^'' 

—  «  Quien  llama?  »  Fitzmaurice-Kclly  and  Ormsby  indicate  a 
precisely  similar  transposition  of  the  text  in  Don  Quixote,  Part  1,  d-  i/'^^ 

Chapter  XIX  :  see  the  Introduction  to  their  sumptuous  reprint  P<^'** 
of  the  pr'uiceps  (London,  1898-1899).  Acad.   XIII  ;  see  the  dis- 
sertation of  Gertrud  Klausner,  Berlin,  1907^^  il*>^   yoj^^lhiy^- 

Triunfo  (El)  de  la  Humildad  y  Soberbia  abatida  (vcncida  on 
the  title-page).  —  M;  X.  MS.  copy  (Parma)  ;  MS.  copy  (Hol- 
land), entitled  La  Hinnildad  y  la  Soberbia.  This  title  is  also  given 
in  the  Tabia  of  Parte  X.  (See  Zrt  Humildad  y  la  Soberbia.) 

*Triunfo  (El)  de  la  Limosna.  —  P. 

*Triunfos  (Los)  de  Octaviano.  —  P. 

Truhan  (El)  del  Cielo,  y  loco  Santo.  —  Acad.  V.  MS.  copy 
(Parma),  v.  Restori,  p.  32,  and  Ztft.  XXII,  292.  «  It  might  be 
supposed  that  this  play  is  identical  with  San  Antonio  de  Padua, 
mentioned  in  P-,  but  we  are  inclined  to  believe  that  it  is  differ- 
ent. »  M.  y  P.  El  Truhan  del  Cielo  is  a  First  Part;  the  Second 
Part  may  be  the  lost  Gloria  de  S.  Francisco.  Restori.  The  title  in 
Huerta  is  merely  Loco  Santo. 

*Truhan  (El)  Napolitano.  —  P'. 

Turco  (El)   en  Viena.  — P.(See£'/  Cerco  de  Viena.) 

U 

Ultimo  (El)  Godo.  —  XXV;  (see  El  Postrer  Godo  de 
Espana). 

'■  Un  Pastoral  Albergue.  —  MS.  copy  (Duran).  Cat.  B.  X.  No, 
2526.  A  note  states  that  it  ran  for  eighteen  days  at  Seville.  Paz 
y  M^lia  questions  the  ascription  to  Lope.  It  is  printed  in 
Comedias  ine'ditas,  Madrid,  1873. 

Urson  y  Valentin.  —  P.  ;(see  El  Nacimiento  de  Urson,   etc.) 


2^0  HUGO    A.    RENNERT 


M  This  comedia  or  rather  this  dramatic  novel  of  Lope  must  have 
been  one  of  the  most  popular  ones  of  its  time,  and,  on  account 
of  the  irregularity  of  its  composition,  must  have  given  the  great- 
est offence  to  the  follo'.vers  of  the  classic  precepts.  M.  v  P. 
Acad.  XIII. 
*Urson  (Segunda  Parte  de).  —  P. 

V 

♦Valeriana  (La).  —  P. 

Valeroso  (El)  Catalan.  — Acad.  VIII. 

Valicnte  (El)  Cespedcs.  —  P^  ;  XX;  S.  (Brit.  Mus.  Arl.). 
Acad.  XII.  This  is  the  First  Part  only.  The  closing  verses  con- 
tain a  promise  to  continue  the  story  till  the  hero's  death  «  en  la 
Guerra  de  Granada  ».  His  death  occurred  July  25,  1569. 

Valiente  (El)  Juan  de  Heredia.  —  H;  MS.  copy  (Osuna), 
Cat.  B.  N.  No.  3399;  Rocamora,  No.   1399.  S.  (J.  R.  C.)  ^cu/-i 

Valor  (El)  de  Fernandico.  —  (See  El  P  lei  to  par  la  Honra). 

Valor  (El)  de  Malta.  —  Acad.  XII;  MS.  copy  (Holland, 
Dunin);  Cat.  B.  N.  No.  3409.  Menendez  y  Pelayo  thinks  this 
play  wholly  unworthy  of  Lope,  because  of  its  entire  lack  ol 
poetic  worth,  v.  Ztft.  XXXI,  496. 

\'alor  (El)  de  las  Mugeres.  —  F  ;  XVIII;  MS.  copy  (Par- 
ma). 

Valor,  Lcaltad  y  Fortuna  de  los  Tellos  de  Meneses.  —  P;  H; 
11.  1.,  )ii.  In  two  parts.  The  first  is  printed  in  Part  XXI,  under 
the  title  Los  Tellos  de  Meneses.  The  secoTul  appeared  as  a  snelta 
(Brit.  Mus.,  J.  R.  C.,  and  Vienna),  v.  Miinch-Bcllinghausen, 
1)1.  (See  Los  Tellos  de  Meneses.) 
7  \'alor  (El)  perseguido,  y  Traycion  vengada.  —  Tonio  132 
(Osuna).  Doubtful.  Chorley  possessed  a  snelta  with  this  title, 
attributed  to  Montalvan.  La  Barrera  says  this  play  is  entirely  dif- 
ferent from  La  Traicion  vci/ii^ada,  6  Tanto  ha^as  guanto  pa^^ues, 
likewise  ascribed  to    Lope,    and   more    justly   to  Moreto.   Cat. 


\ 


BIBLIOGRAPHY    OF   LOPE   DE   VEGA  25 1 

p.  456.  Bacon,  Life  and  Worlds  of  Monlalvatj,  p.  450,  ranks  this 
play  among  his  author's  supposititious  roiiicJids,  hut  savs  that  it 
reads  much  Hke  Montal van's  work. 

Vandos  (Los)  de  Sena.  —  P= ;  XXI.  Tomo  131  (Osuna),  li". 
114-138  :  a  fragment  of  this  Part  XXI. 

Vaquero  (El)  de  Morana.  —  P;  P^;  VIII;  Acad.  VII.  Accord- 
ing to  Sarmiento  {Semanario  Eriidito,  V,  p.  175)  these  Vaque- 
ros  were  neighbors  of  the  Maragatos,  and  of  the  same  origin,  but 
they  do  not  supply  the  theme  oi  \.\\\s  co)ucdia.  Here  the  I'tujnero 
is  the  Conde  D.  Manrique  who  becomes  enamoured  of  King 
Bermudo's  sister,  is  imprisoned,  escapes,  disguises  himself  as  a 
villano,  and  is  finally  pardoned  on  the  intercession  of  the  Conde 
de  Castilla.  This  play  has  no  fi(^nra  del  donayre.  This  comedia 
exists  as  a  suclla  of  48  pages,  which  seems  to  have  formed  part 
of  a  volume  :  En  Brusselas,  por  Huberto  Antonio  Velpio,  1651. 
Salva,  Catdlogo,  I,  548  :  v.  Ztfl.  XXVI,  505. 

Vargas  (Los)  de  Castilla.  —  H.  According  to  Fajardo  this 
comedia  appeared  in  Part  XXVII,  extravaganle,  Barcelona,  1633. 
A  fragment  (ff.  123-146)  containing  the  play  is  in  Tomo  133 
Osuna,  and  in  the  Chorley  collection,  and  this  is  thought  to  be 
part  of  XXVII,  extravagante.  Acad.  X;  MS.  copy  Cat.  B.  N.  No. 
3422  and  No.  420.  «  From  its  style  this  seems  to  be  a  composi- 
tion of  Lope's  youth,  written  probably  in  Seville,  where  he  resid- 
ed for  long  periods  from  the  close  of  1600  till  May,  i6o_)  ». 
M.  y  P.  Restori  says  this  play  also  bears  the  title  of  Los  Ires 
Vargas.  According  to  the  above  fragment  it  was  represented  by 
Antonio  de  Prado.  v.  Zlft.  XXIX,  364. 

Varona  (La)  Castellana.  —  P;  IX;  Acad.  VIII.  MS.  copy 
(Parma).  The  character  of  Ordoiio,  «  escudero  cobarde  », 
amounts  to  z  figura  del  donayre.  v.  Ztfl.  XXVI,  510. 

Vaso  (El)  de  Eleccion.  —  H ;  (sec  5^///  Pablo).  Acad.  III.  MS. 
copy  (Parma)  of  the  early  xvii  century.  Restori,  Una  Coll.,  33; 
in  this  MS.  the  play  is  entitled  :  Vaso  de  eleccion  y  Doctor  de  las 
Gentes  San  Pablo,  de  Lope  de  Vega.  Monroy's  play  Laf  Principes  de 
la  Iglesia  follows  Lope's  play  very  closely.  Restori. 


252  HUGO    A.    RENNERT 


Vellocino  (El)  de  Oro.  —  P^  ;  XIX;  Arml.  VI.  MS.  copy 
(Parma),  v.  Zift.  XXIII,  44^,  ff.  According  to  Giinthner,  Siu- 
dien  :;ji  Lope  de  Vega,  p.  20,  an  edition  of  this  play,  in  Spanish, 
was  published  at  Vienna  in  1633  :  Ctvuedia  del  Vellocino  de  oro; 
Viennae,  Austria,  excudebat  Gregorius  Gelbhaar.  4°.  There  was 
also  an  edition  in  Milan,  luan  Baptista  Bidelli,  1649;  from  the 
contents  of  the  accompanying  Loa  it  seems  also  to  have  been 
acted  in  that  year  in  Milan.  Tickiior  CataJof^iie,  395.  The  play 
was  originally  represented  at  '.I  fiesta  celebrated  at  Aranjuez,  May 
15,  1622.  Acad.  W,  p.  Hi;  Bull.  Hisp.  (1908),  253.  An  auto 
entitled  El  Bcllocino dorado  was  represented  in  i^<)O.Niievos  Datos, 

27- 

Vencido  (El)  Vencedor.  —  MS.  copy  (dated  1635  :   Parma). 

Restori,  34;  this  is  doubtless  El  Vencedor  vencido  en   el    Torneo, 

represented  in    1622    before   the    Queen    by  Juan  de   Morales 

Medrano. 

Veneno  (El)  saludable.  —  P''  ;  XIV.  (See  El cuerdo  loco). 

Vengadora  (La)  de  las  Mugeres.  —  XV;  «  Representola  Leon, 

y  hizo  la  Vengadora  Maria  de  Alcaraz  famosamente  ».  It  was  also 

represented  by,  Morales  in   1623  (?)  v.    Schack,  Nachtrdge,  67; 

there  is  also  a  snelta  (43  pages)  of  this  play  :  en   Brusselas,   por 

Huberto  Antonio  Velpio,  16-19.  Salva,  Cat.,  I,  54(S. 

^  *Vens;anza  (La)  de  Gavferos.  —  P. 

'        •.    ju    f  Venganza   (La)  venturosa.  —  P- ;  X;    MS.  copy   (Parma). 

*//  *        Some  passages  in  this  play  seem  to  contain  references  to  Lope's 

<  TO/  father,  v.  Petrof,  in  Melanges  Chahanean.  Roman.  E or sch.,  XXIII. 

Ventura  (La)  en  la   Desgracia.   —   Escog.   XXVIII;  S.    (Du- 

ran)iv-»  '^^■ 

'^      Ventura  (La)  por  el  Sueno.  —  (See  El  Merilo  en  la  Teinplan:^a). 

Doubtful. 

\'entura  (La)  sin  buscalla.  —  P^ ;  XX.  The  snelta  in  the  Brit. 

J     ;:  V      ^'^^^-  is  a  fragment  of  this  volume]  There  is  an  Ofuna  MS.  Cat. 

"^  B.  N.  No.  3460,  of  a  <<  Comedia  burlesca  »  entitled  La  Ventura 

sin  hnscarla,  which  may  be  a  parody  on  Lope's  play. 


'.^OzA*'  ^"H 


BIBLIOGRAPHY   OF    LOPE    DE   VEGA  253 

^  Ventura  (La)  de  la  Fea.  —  M.(anon.).  According  to  Fajardo 
this  play  appeared  in  Part  XXVI,  extravaganle,  Zaragoza,  16-15. 
Chorley  possessed  the  play  (leaves  z-j  being  missing)  in  what 
may  have  been  a  fragment  of  this  Part.  Restori  thinks  this  play 
may  be  by  Mescua.  He  says  there  is  an  allusion  to  this  play  in 
Lope's  auto  Del  Pany  del  Palo  {Obras,  II,  p.  lix)  which  indicates 
the  probable  date  of  its  composition.  Concerning  the  vol.  XXVI, 
extravaf^anle,  1645  (and  1632  or  1633),  he  refers  to  what  Ortiz 
de  Villena  (in  the  preface  to  Parte  XXI  of  Lope,  1635),  says  of 
the  plays  of  Lope  printed  in  Seville,  Valencia,  Zaragoza  and  other 
cities,  —  that  they  are  by  various  poets,  and  although  they  bear 
his  name,  that  they  are  not  his,  Restori  prints  the  Entreiiics  del 
Doctor  Carlino,  in  which  La  Ventura dela  Fea  is  attributed  to  Mira 
de  Mescua,  which  ascription  he  thinks  should  be  taken  into 
serious  consideration,  v.  Pie:{as  de  Titulos  de  Comedias,  Messina, 
1903,  p.  134. 

Ventura  y  atrevimiento.  —  S.  (J.  R.  C,  Duran).  Salva(CaL 
I,  660)  also  possessed  an  ancient  snelta. 

Ver  y  no  creer.  —  XXIV,  Zaragoza,  1633;  MS.  copy,  with 
aprobacion  of  Luis  Navarro,  dated  Zaragoza,  August  25,  161 9.  Cat. 
B.  N.  No.  3464,  without  the  author's  name.  This  MS.  appears 
to  differ  from  that  which  was  in  Duran's  collection. 

Verdadera  (La)  Amistad.  —  (See  Los  Amigos  enojados). 
Doubtful. 

Verdadero  (El)  Amante.  —  P  ;  XIV  ;  «  Representola  Rios  »  . 
H.  I.,  I  ;  Acad.  V.  According  to  a  MS.  cited  by  Salva,  {Cat.  I, 
p.  660),  this  is  also  entitled  Gran  Pastoral  Belarda.  v.  La  Bar- 
rera.  Cat.,  437.  This  is  perhaps  the  earliest  play  of  Lope  that  has 
survived.  Acad.  V,  p.  Iviii ;  see  also  Los  Hechos  de  Garcilaso  dc  la 
Vega. 

*Viaje  (El)  del  Hombre.  —  P. 

Vida  (La)  de  San  Julian  de  Alcala.  —  (See  El  Saber  por  no 
saber) . 

Vida  (La)  de  San  Pedro  Nolasco.   —  XXII  ;  Acad.  V;  MS. 


254  HUGO    A.    RENNERT 


copy,  Cat.  B.  N.  No.  3479.  —  This  play  was  written  in  1629 
for  the  festival  which  the  order  of  Nuestra  Seiiora  de  la  Merced 
celebrated  between  April  21  and  iMay  8  in  honor  of  its  founder. 
It  was  represented  before  Philip  IV,  by  the  company  of  Roque 
de  FigLieroa.  See  the  Relacion  of  Dr.  Benito  Lopez  Remon  (Ga- 
llardo,  Eiisayo,  III,  301).  Restori,  LilteraliirhlaU  f.  ^en)t .  it. 
roiiuiii.  Phil.  (1902),  deprint,  p.  10;  Acad.  V,  p.  ix;  Ztjl . 
XXII,  277. 
i^  —  \'ida  (La)  y  Muerte  del  glorioso  y  bienauenturado  Padre  San 
Francisco —  La  tamosa  Comedia  de — .  Compuesta  por  Lope  de 
Vega  Carpio.  Son  figuras  las  siguientes  :  Padre  de  San  Francisco. 
Su  Madre.  Francisco.  Florencio  y  Fabricio  sus  hermanos.  Vn 
Pobre.  Vn  simple  Fray  luan  Constantin,  etc.  Impresa  en  Valen- 
cia, en  casa  de  luan  Vicente  Franco,  alia  Pelleria  vieja  junto  a 
San  Martin,  y  alii  se  vende.  Ano  161 1.  Gallardo.  Eiisayo,  IV, 
col.  968. 

Vida  (La)  y  Muerte  del  Rey  Bamba.  —  H  ;  I ;  Acad.  VII. 
This  play  has  no  figitra  del  donayre.  v.  Ztjt.  XXVI,  487.  f^''*^^ 
■^r  Vida  (La)  y  Muerte  de  Santa  Teresa  de  Jesus.  —  H.  (See  La 
Madre  Teresa  de  Jesus).  MS.  copy,  ascribed  to  Lope  de  Vega 
(Osuna)  Cat.  B.  N.  No.  3489;  Rocamora,  No.  1370.  There  is 
also  a  MS.  copy  at  Parma.  Restori,  Una  CoJk:iioiic,  p.  35.  No  play 
bearing  this  title  appears  in  either  P.  or  P-.,  though  a  play  enti- 
tled La  Madre  Teresa  de  Jesus  is  noted  in  P-.  In  the  volume  Doce 
Coiiiedias  de  varies  Autores,  Tortosa,  1638,  there  is  a  comedia 
La  hienaventurada  Madre  Santa  Teresa  de  Jesus,  which  is  attribut- 
ed to  Luis  Velez  de  Guevara.  Chorley  assumed  this  latter  to 
be  a  different  play  from  La  Vida  y  Muerte  de  Santa  Teresa  de 
Jesus,  and  he  was  doubtless  correct.  In  ZtJt.  XXII,  283,  Restori 
gives  excerpts  trom  the  Parma  MS.,  saying  that  the  play  begins 
with  a  dialogue  between  La  Vanidad  and  La  Envidia,  though  he 
gives  no  words  of  the  dialogue,  nor  does  he  here  give  the  closing 
lines  of  the  comedia,  though  he  does  give  them  in  Una  Colle- 
:^ione,  etc.,  p.  35,  where  we  read  : 


^ 


f^xi^x^.-  ^  V  XavI;  v^j^r^  -^^a^^Ju-e^;, 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  2^) 


y  aqui  acaba  la  comcdia 
de  la  mas  santa  niugcr 
que  nucstra  Rspaiia  /clcbra. 

MS.  No.  3_|89  begins  : 

Faiiuldil .  — Envidia,  lu/.  dcrivada 
and  ends  : 

que  nuestra  Espana  celebra. 

There  can,  therefore,  be  no  doubt  that  the  Osuna  MS.  No. 
3489  and  the  Parma  MS.  are  copies  of  one  and  the  same  phiy, 
and  that  this  play  is  entirely  different  from  Lope's  La  Madre 
Teresa  de  Jesus,  v.  Ztft.  XXII,  282,  where  Restori  gives  long 
excerpts  from  the  Parma  MS. 

Villana(La)  de  Xetafe.  —  P^  XIV;  MS.  copy  (Holland). 
«  Representola  Valdes  ».  This  play  has  no  Jigtii  a  del  donayre. 

*Villanesca  (La).  —  P. 

Villano  (El)  en  su  Rincon.  —  P^  ;  VII;  H.  II.,  135; 
Dif.  XLIV  (1652);  S.  (J.  R.  C.)  Escog.  XXXIII  (1670),  has  a 
re-cast  of  this  piece  by  Matos  Fragoso  under  the  amplified  title 
of£"/  Sabio  en  sn  Retire  y  Villano  en  su  Rincon. 

Virgen  (La)  de  los  Remedios.  —  H  (anon.)  (See  Ordcn  de  la 
Redencion^. 

Virtud,  Pobreza  y  Muger.  —  P-  ;XX;  H.  IV,  211.  It  alludes 
to  Mescua's  La  Rneda  de  la  Fortutia,  represented  by  Morales  in 
Maddd  in  1604;  v.  Life  of  Lope  de  Vega,  153  ;  Corned ias  de  Lope, 
ed.  Hartzenbusch,  IV,  p.  222.  See  also  Stiefel,  Ztft  f.  fran^. 
Sprache,XXlX,  209.  The  comedia  must  have  been  written  after 
July  25,  1607,  the  date  of  Pedro  Lihan's  death.  Hartz.  IV,  214; 
Bibliografia  Madrilena,  III,  413. 

Vitoria  (La)  de  la  Honra.  —  P^  (La  Vitoria  del  Honor); 
XXI;  Dif.  XXXIII  (Valencia,  1642  as  La  Vitoria  por  la  Honra). 
Chorley  possessed  the  fragment  oiDif.  (fols.  181-203)  contain- 
ing this  play  :  it  also  survives  in  Tomo  132  (Osuna). 


256  HUGO    A.    RENNERT 


\'itoria  (La)  del  Marques  de  Santa  Cruz.  —  XXV.  This  is  tlie 
title  of  the  play  as  given  in  the  Tahla  ;  in  the  text  it  appears  as 
La  uiieva  Victoria  del  Marques  de  Santa  Cru~,  and  Medel  repeats 
the  latter  form.  P-  notes  it  as  La  Toina  de  Longo  por  el  marques 
dc  Santa  Cnc;;^. 

Viuda,  Casada  y  Doncella.  —  M;  P^  VII.  S.  (J.  R.  C.  and 
Osuna)  ascribed  to  un  hii^H'nio  and  entitled  Doncella  Viuda  y 
Casada . 

Viuda  (La)  Valenciana.  —  P;  XIV;  H.  I.,  67;  MS.  copy 
Cat.  B.  N.  No.  3525.  «  Representola  Mariana  Baca,  vnica  en  la 
accion  y  en  entender  los  versos.  »  This  Mariana  \'aca  was  the 
mother  of  the  famous  Jusepa  Vaca,  The  play  has  no  Jigura  del 
donayre.  Schaeffer  (I,  15  3) says  that  the  play  is  founded  on  Ban- 
dello,  Part  IV,  Nov.  xxvi. 
■♦  Vizcayna  (La).  —  P.  This  play  was  represented  betore  the 
King  by  the  company  of  Antonio  de  Prado  on  January  2,  1623, 
and  by  Pedro  de  la  Rosa  in  the  Retiro  before  March  3,  1637.  It 
is  probably  \osx.  Mod.  Lang.  Rev.  Ill,  55. 

*Vuelta  (La)  de  los  Espaiioles  en  Flandes.  —  P^ 


Yerros(Los)  por  Amor.  —  H  ;  S  (J.  R.  C.  and  Duran).  See 
Hierros  por  Amor. 

Yo  me  entiendo.  —  Tieck  possessed  a  suelta  in  which  this 
play  is  attributed  to  Calderon.  Vera  Tassis,  however,  in  the 
Verdadera  Ouinla  Parte  de  Coniedias  dc  Calderon,  Madrid,  1694, 
denies  this  authorship  and  places  the  comedia  in  the  list  of 
('  Comedias  supuestas  que  andan  debaxo  de  su  nombre  ».  Valen- 
tin Schmidt,  Calderon,  p.  483,  says  there  is  a  play  Yo  ine  entiendo 
by  Lope,  and  believes  Lope  to  be  the  author  of  the  only  play 
known  under  this  title.  See  also  Ibid.  p.  531.  Tkck's  suelta  is 
now  in  the  Berlin  Library. 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  257 


Zegries  y  Bencerrages.  —  (See  Cegrics  y  Benccrrages). 

Zelos  (Los)  de  Rodamonte.  —  P;  MS.  (Osuna),  Cal.  B.  K. 
[o.  568.  This  same  play  is  ascribed  to  Mescua  in  Comedias  de 
trios  Autores,  Tortosa ,  1638.  There  is  anotlier  comedia  upon 
le  same  subject  and  bearing  the  same  title,  written  by  Rojas 
orrilla,  and  pubUshed  in  his  Parte  I,  Madrid,  1640.  Acad. 
1\\.  Menendez  y  Pelayo  says  there  can  be  no  doubt  that  the 
lay  he  has  pubHshed  in  Acad.  XIII,  is  Lope's.  It  probably  dates 
•cm  before  1602. 

*Zelos  (Los)  satisfechos.  —  P. 

*Zelos  sin  Ocasion. —  P^ ;  M. 

Zeloso  (£1)  de  si  mismo.  —  H.  (See  La  Pastoral  dc  Jacinto). 

Zirro  (Giro)  Hijo  de  la  Perra.  —  M.(anon).  Fajardo  asserts 
hat  this  is  identical  with  Contra  Valor  no  hay  Desdicha. 

rotal  number  of  titles_,  excluding  alternates ....  726 

Comedias  (doubtful,  or  known   not   no  be    by 

Lope) 84 

Comedias  known  only  though  P,  P-,  M,  H,  and 

similar  sources .  .  .  180 

264 
'dumber  of  Comedias  by  Lope  de  Vega  that  we 

now  possess.  .  .  4^2 

Nummary  of  the  Catalogue  of  Comedias. 

Comedias  de  Lope  de  Vega  :  I-XXV. 

Parts  I,  II,  IV,  VI-XXI,  XXIII,  XXIV,  Zaragoza, 

1 64 1.  21  Parts  each  containing  12  plays.  .  .  252 

XXII,  Zaragoza,  1630.  [8]  (2  by  other  writers, 

KEVUE    HISPANIQUE.    G.  '7 


2s8  HUGO    A.    RENNERT 


2  printed  in  other  parts).  XXII,  Madrid,  1635. 
[11]...  19 

XXIV,  Zaragoza,  1633.  |8j  (3  by  other  writers, 

I  printed  in  XXII,  Madrid.  .  .  8 

XXV,  (3  printed  in  previous  Parts).  .  .  9     3^  288 
Parts  which  commonly  pass  as  III  and   X  of  the 

Comedias  de  Lope. 

III  de  Lope  y  otros.  [3 1.    Flor  de  Dif.  Part  V. 

[i]...  4 

Part  XXIV,  Madrid,  1640.  No  copy  is  known  to 
exist.  It  contained,  apparently,  4  by  other 
writers ;  7  which  exist  in  other  Parts  or  in 
sueltas ;  i  doubttul ...  » 

Vega  del  Parnaso.  [6]  (Two  of  the  8  are  printed 
in  the  Comedias  de  Lope)  :  Relacion  de  las 
Fiestas,  etc .  .  .  8 

VI  de  Lope  y  otros  (besides  one  already  printed 

in  Part  I,  it  contains  one  doubtful  play).  .  .  i 

IV  de   Gongora  y  Lope  (contains  2  by  Lope  — 

r  printed  in  Part  XVIII  —  and  i  doubtful).  .  .  2 

In  the  fragments  of  Extravagantes  de  Lope,  Come- 
dias de  SeviJla,  etc.,  preserved  in  the  Osuna 
Library  (see  pp.  38-41),  there  are,  in  addition 
to  sueltas,  Tomo  131  [i]  :  Tomo  132(5]  : 
Tomo  133  [7,  one  being  doubtful].  13 


Comedias  deVarios.  Old  Series.  (Varios de  afue- 

ra.) 
Dif.  XXVIII,  1634.  —  [7]  3    by  other  writers, 

2  previously  printed.  .  .  2 

Lope  y  otros,  1634,  Parte  XXIX.  —  [7]   i    by 

another  writer.  .  .  6 

Dif.  XXIX,    1636.  — [2J  previously  printed.  . .        » 


316 


BIBLIOGRAPHY   OF    LOPE    DE    VEGA  259 

Dif.  XXX,  1636.  [r]  previously  printed.  .  .  » 
Dif.  XXXI,  1638.  [2]  previously  printed,  i  donhl- 

ful.  .  .  I 

Dif.  XXXII,  1640.  [2]...  2 
Dif.  XXXIII,   1642.   [3]    I   by  another  writer,  i 

previously  printed ...  i 

Dif.  XXXVII,  1646...  I 

Dif.  XLIV,  1652.  [2]  previously  printed.  .  .  » 

Lope  y  otros,  II,  1630.  [4]  i   previously  printed.  3 

Varios,  Tortosa,  1638.  .  .  2 
Varios  de  Lisboa,  1652.  [2]  i   by  another  writer, 

I  previously  printed  -  .  .  » 

Varios.  Lisboa,  1647.  i  previously  printed.  » 

78" 
Comedias   de  Varios.  —    Escogidas.  New  Series. 

(Varios  de  Madrid,  etc.) 

Escogidas  III.  7 
Escogidas  VI.  Zaragoza,  1653.   5   (i   by  another 

writer,  3  previously  printed).  .  .  i 
Escogidas  VII.  i  previously  printed  .  .  » 
Escogidas  VIII.  i  ascribed  to  Mescua.  i 
Escogidas  X .  .  .  i 
Escogidas  XV.  [Under  the  name  of  Zarate]  i  pre- 
viously printed.  .  .  » 
Escogidas  XVI.  [Under  the  name  of  Rojas].  .  .  i 
Escogidas  XVIII ...  i 
Escogidas  XX.  [Under  the  name  of  Rojas].  i 
Escogidas  XXV.  [Under  the  name   of  Moreto]  i 

previously  printed ...  » 
Escogidas  XXVIII.  3  [i  under  the  name  of  Mes- 
cua] 2  previously  printed ...  i 
Escogidas  XXX  [Under  the  name  of  Moreto] ...  i 
Escogidas  XXXI  [Under  the  name  of  Zavaleta] ...  i 
Escogidas  XXXVII  [Under  the  names  of  Moreto 


260  HUGO    A.    RENNERT 


and  Matos]  2  previously  printed.  .  .  » 
Escogidas  XXXIX  [Under  the  names  of  Moreto 

and  Matos]   2  previously  printed ...  » 

Escogidas  XL.  i  doubtful ...  i 

Escogidas  XLII.  [2  under  the  name  of  Villegas]  i 

doubtful.  2 

Escogidas  XLR'.  |  Under  the  name  of  Rojas].  i 

C.  N.  Amst.  1726.  2  (i  previously  printed).  i 

21     39 
Sueltas    (not  printed  in  other  forms,   excluding 

doubtful  ones  :  see  pp.  70-71).  .  .  28 

MSS.  inedited.  .  .  35 

Plays  since    published   by  the  Spanish  Academy, 

and  in  other  editions.  .  .  48 

250 
466 
Deducting  doubtful  plays  above  noted ...  4 

Total  of  Lope    de  Vega's  known  Comedias    (in 

print  or  in  manuscript).  462 

SUPPOSITITIOUS  PLAYS  ASCRIBED  TO  LOPE 

A  lo  que  obliga  el  ser  Rey.  —  S.  (J.R.C.).  By  V^lez  de  Gue- 
vara. 

Adversa  (La)  Fortuna  del  Caballero  del  Espiritu  Santo. —  H. 
IIL  (Lope  y  otros  ').  By  Grajales.  See  Salva,  Catdlogo,  I, 
p.  565. 

Adversa  (La)  Fortuna  de  Ruy  Lopez  Davalos.  —  H.  V. 
(Lope  y  otros").  By  Salustio  del  Poyo. 

Amor  (El)  Invencionero  (La  Espanola  de  Florencia).  By  Cal- 
deron  ?  or  Diego  de  Figueroa  ? 

I.  Tlie  plays  quoted  as  being  contained  in  Parts  III  and  V  of  'Lope  y  otros' 
are  given  with  the  names  of  the  real  authors  :  they  are  attributed  to  Lope  by 
Nicolas  Antonio,  whose  mistake  has  been  mechanicalh  reproduced. 


BIBLIOGRAPHY    OF   LOPE    DE    VEGA  26 1 

Amor,  Pleyto  y  Desafio.  —  XXII  and  XXIV.  Zaragoza,  1633. 
This  is  Alarcon's  Ga)iar  Aminos.  But  Lope  wrote  a  play  bearing 
this  title,  of  which  the  autograph  MS.  dated  November  23, 
1621,  is  in  the  Bib.  Nac.,Ca/.  No.  171. 

Aristomenes  Mesenio.  —  (See  El  Valeroso  Aristomeurs). 

Batalla  (La)  de  los  Dos.  —  By  Torre  y  Sevil  ? 

Bernardo  del  Carpio  en  Francia.  —  B}'  Don  Lope  de  Liano. 

Boba  (La)  di.screta.  —  Cafiizares?  See  Salva,  I,  p.  574. 

Capitan  (El)  Belisario.  —  Hscog.  VI.  Zaragoza,  1653.  (See  HI 
Exemplo  mayor  de  la  Desdicha). 

Cautela  contra  Cautela.  —  ascribed  to  Lope,  then  to  Mescua 
in  a  MS.  at  Parma.  See  Restori,  Coined ias  de  d if.  Aiilores,  (in 
Stud],  1891),  p.  77.  It  is  the  play  of  Tirso  de  Molina  and  Alar- 
con.  Comedias  de  Tirso  (Bib.  de  Autores  Espaiioles). 

Cavallo  (El)  vos  han  muerto.  —  S.  (J.  R.  C).  —  By  Velez 
de  Guevara  :  Si  el  Cavallo,  etc.  See  Salva,  I,  p.  576. 

Celos  con  Celos  se  curan.  —  (See  Zelos,  etc.) 

Celoso  (El)  Extremeiio.  — (See  Zeloso,  etc.) 

Como  se  engaiian  los  Ojos,  6  el  Engano  en  el  Anillo.  —  By 
Juan  Bautista  de  Villegas  ;  Dif.  XXV,  Zaragoza.  1632.  Fajardo 
mentions  this  play  under  the  title  Nadie  crea  lo  que  ve,  0  latnbien 
se  erigaha  la  Vista. 

Conde  (El)  Don  Pedro  Velez.  —  By  Guevara  ? 

Confusion  (La)  de  Ungria.  —  Fajardo.  By  Mescua.  Escog. 
XXXV. 

Cruz  (La)  en  la  Sepultura.  —  Dif.  XXVIII,  and  XXIV, 
Madrid,  1640.  This  is  Calderon's  play  entitled  La  Devocion  de  la 
Crii^.  See  the  note  on  p.  32. 

De  unCastio;o  tres  Venganzas.  —  H.  Bv  Calderon  :  Un  Castigo 
en  tres  Venganzas. 

Desgracias  (Las)  del  Key  don  Alonso  el  Casto.  —  H.  V.  (Lope 
y  otros).  By  Mescua.  See  Salva,  I,  p.  589.  A  play  entitled  El 
Key  Alfonso  el  Casto  was  in  possession  of  Alonso  de  Heredia  in 
August,  1605.  V.  Btill.  Hisp.  (1907)'  372- 


262  HUGO    A,    RENNERT 


Despreciada  (La)  Querida.  —  XXIV,  Madrid,  1640.  By  Juan 
Bautista  de  Villegas;  see  Salva,  I,  589. 

Desprecios  (Los)  en  quien  aina.  —  By  Montalvan.  See  Ibid. 
S.  (Brit.  Mus.). 

Destruicion  (La)  de  Constantinopla,  [Lisboa,  Madrid,  1603 J. 
By  Gabriel  Lobo  Laso  de  la  Vega. 

Di  Mentira  y  sacaras  Verdad.  —  By  Matias  de  los  Reyes 
{Batilo). 

Dios  hace  Justicia  a  todos.  By  D.  Francisco  de  Villegas.  Escog. 
XLIL 

Dona  Ines  de  Castro  (La  Tragedia  de).  —  H.  Parte  III  de 
Lopey  otros.  By  Mejia  de  la  Cerda.  See  Salva,  I,  p.  592. 

Don  Gil  de  la  Mancha.  —  By  RojasZorrilla? 

Ejemplo  (El)  mayor  de  la  Desdicha,  y  Capitan  Belisario.  — 
H.  S.  (J.  R.  C.)  There  are  siieltas  of  Barcelona,  1771 ;  Valladolid, 
1781  ;  Madrid,  1796,  which  ascribe  it  to  Lope.  It  is  by  Mescua. 

El  que  diran,  y  Donaires  de  Pedro  Corchuelo.  —  By  Matias 
de  los  Reyes.  La  Barrera,  p.  327. 

Enemiga  (La)  favorable.  —  H.  Parte  V  dc  Lope  y  otros.  By 
Tarrega. 

Espanola  (La)  de  Florencia.  —  See  Alphabetical  list,  under 
Bnrlas  veras. 

Examen  (El)  de  Maridos.  —  XXIV,  Zaragoza,  1633.  By  Alar- 
con. 

Fernan  Mendez  Pinto.  —  S.  Parte  I  and  II,  (Holland,  J.R.C.) 
By  Enriquez  Gomez  ?  See  Salva,  I,  p.  602. 

Florestas  de  Amor.  —  See  El  Paraiso  de  Laura. 

Gran  Cardenal  (El)  de  Espaiia,  Don  Gil  dc  Albornoz.  —  By 
Antonio  Enriquez  Gomez. 

Gran  Tamorlan  (El)  de  Persia.  —  Dif.  XXXIII  :  La  niieva 
Ira  de  Dios.  By  V^lez  de  Guevara. 

Guarda  (La)  cuidadosa.  —  H.  Parte  V  de  Lope  y  otros.  By 
Miguel  Sanchez.  Published  by  H.  A.  Rennert,  Boston,  1896. 

Hermanas  (Las)  Bandoleras  (?).  See  Alphabetical  list. 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  263 

Hijos  (Los)  del  Dolor  y  Albania  tiranizada.  —  Bv  Francisco 
de  Leyva. 

Industria  (La)  contra  el  Poder  y  el  Honor  contra  la  Fuerza. 
—  Dif.  XXVIII,  and  XXIV,  Madrid,  1640.  This  is  Calderon's 
Amor,  Honor y  Poder.  v.  Bull.  Hisp.  VIII,  376. 

Isla  (La)  barbara.  —  By  Miguel  Sanchez.  Published  by  H.  A. 
Rennert,  Boston,  1896. 

Jueces  (Los)  de  Castilla.  —  By  Moreto  ? 

Leno  (El)  de  Meleagro  y  Profetisa  Casandra.  —  By  Pablo 
Polope  y  Valdes,  a  writer  who  flourished  towards  the  end  of  the 
end  of  the  seventeenth  century. 

Lindona  (La)  de  Galicia.  —  By  Montalvan.  v.  La  Barrera, 
268;  Paz  y  Melia,  Cal.  No.  1756. 

Loco  (El)  cuerdo.  —  H.  Parte  V  de  Lope  y  otros.  By  Valdi- 
vielso. 

Lo  que  es  un  Coche  en  Madrid.  —  S.  (J.  R.  C).  Los  Riesgos 
que  tiene  un  Coche.  By  Antonio  Hurtado  de  Mendoza  ?  See  Schaef- 
fer,  I,  p.  411. 

Mai  (El)  Pagador  en  Pajas.  —  ?  It  is  not  by  Calderon. 

Mas  pesa  el  Rey  que  la  Sangre.  —  S.  (Holland).  By  Guevara. 
V.  Salva,  I,  620. 

Mayor  (El)  Rey  de  los  Reyes.  —  Claramonte  ?  It  is  not  by 
Calderon?  Restori  {Ztft.  XXII,  107)  notes  a  Comedia  El  niejor 
Rey  de  los  Reyes. 

Mentiroso  (El).  -^  (See  La  Verdad  sospechosa.) 

Nadie  se  fie  en  lo  que  ve,  porque  se  enganan  los  Ojos  (Tam- 
bien  se  engana  la  \'ista).  By  Juan  Bautista  de  Villegas.  (See 
Co)iio  se  enganan  los  Ojos.) 

Nino  (El)  Diablo.  —  By  Luis  Velez  de  Guevara,  v.  Schaeffer, 
Geschichte,  I,  p.  300. 

No  hai  mas  saber  que  salvarse.  —  In  a  very  old  suelta  it  is 
attributed  to  Lope.  Salva,  I,  630.  It  is  by  Monroy  y  Silva.  The 
autog.  MS.  dated  December  5,  1643,  is  in  the  Bib.  Nac.  Cat.  No. 
2339. 


264  HUGO    A.    RENNERT 


No  hay  Vida  como  la  Honra.  —  H.  By  Montalvan. 

Nueva  (La)  Ira  de  Dios.  y  Gran  Tamorlan  de  Persia.  —  By 
Luis  \'clez  de  Guevara. 

Nuevo  (El)  Pitagoras.  —  See  Alphabetical  list. 

Once  (Las)  mil  Virgenes  :  Santa  Ursula.  —  Mes.  Rom.,  M; 
H;  (anon.). 

(?)  Orden  (La)  de  la  Redencion,  y  Virgen  de  los  Remedies. 
—  MS.  Holland. 

Paje  (El)  de  Don  Alvaro.  —  This  play,  ascribed  by  Medel  to 
Juan  Velez  de  Guevara  and  printed  "as  Calderon's  (it  is  not  by 
him,  according  to  the  Qiiinta  Parle  of  Calderon's  Comedias),  is 
assigned  by  Schaeffer  (Vol.  I,  p.  188)  to  Lope  de  Vega.  See 
Salva,  I,  p.  617.  Barrera  {Cat.  467)  is  certainly  mistaken  in 
thinking  that  this  is  the  same  play  as  El  Lucero  de  Castilla  y  Lima 
de  Aragoii,  which  is  by  Luis  Velez  de  Guevara.  In  the  latter  play 
two  of  the  principal  characters  are  the  Duque  de  Arjona  (El 
Luzero  de  Castilla),  and  Don  Alvaro  de  Luna  (La  Luna  de  Ara- 
gon);  the  latter  first  appears  as  the  Pajc  of  the  King  Don  Juan 
II.  (Printed  |in  Comedias  Escogidas  de  diferentes  Libros,  Brusselas, 
1704.)  It  is  an  excellent  play  and  probablv  the  same  as  EI  Duque 
de  Arjona,  a  play  copied  in  Orche  (Guadalajara)  in  161 3.  v. 
Bull.  Hisp.  (1907),  p.  378.  The  MS.  in  the  Bib.  Nac.  Cat.  No. 
2741  :  El  Privado  perseguido  is  the  same  as  the  one  in  the  volume 
of  Brusselas,  1704.  From  the  concluding  lines  it  may  be  inferred 
that  the  comedia  was  in  two  parts.  Perhaps  the  other  part  is  El 
Paje  de  Don  Alvaro. 

(?)  Paraiso  (El)  de  Laura,  y  Florestas  de  Amor.  —  M.  (anon.) 
MS.  Holland.  Chorlcv  notes  that  this  is  no  more  than  doubt- 
ful. 

Premie  (El)  de  las  Letras  por  el  Rey  Felipe  II.  —  H.  Parte  V 
dc  Lope  y  otros.  It  is  by  Salustio  del  Poyo. 

Primcro  (El)  Key  del  Mundo.  —  (See  La  Soherbia  de  Neni- 
brot.) 

Principe  (El)  Don  Carlos.  —  S.  (H.  and  Vienna).  By  Diego 
Ximencz  de  Enciso.  See  the  Alphabetical  list. 


BIBLIOGRAPHY   OF    LOPE  DE    VEGA  265 

Profetisa  (La)  Casandra.  —  H.  (See  Leho  deMekaoro). 

Prospera  (La)  Fortuna  del  Caballero  del  Espiritu  Santo.  —  By 
Juan  Grajales. 

Prospera  (La)  Fortuna  de  D.  Bernardo  de  Cabrera.  —  By 
Mescua  ? 

Prospera  (La)  Fortuna  de  Ruy  Lope/  Davalos.  —  Parte  III  de 
Lope  y  otros.  By  Salustio  del  Poyo. 

Puente  (La)  de  Mantible.  —  S.  (H.  and  Vienna).  By  Calde- 
ron. 

Pusoseme  el  Sol,  saliome  la  Luna.  —  Dif.  XXX.  By  Clara- 
monte. 

Rey  (El)  por  Semejanza.  —  Juan  de  Grajales? 

Rueda  (La)  de  la  Fortuna.  — Part  V.  Madrid,  1615.  By  Mes- 
cua. 

San  Antonio  de  Padua.  —  By  Montalvan. 

Santa  Casilda.  —  Phelipede  Medina  Pores  ? 

Sastre  (El)  de  Campillo.  —  By  Luis  de  Belmonte. 

Siete(Los)  Infantes  de  Lara  (Tragedia  de).  —  H.  Parte  V  de 
Lope  y  otros,  Madrid,  161 5.  By  Alfonso  Hurtado  de  Velarde. 

Soberbia  (La)  de  Nembrot,  y  primero  Rey  del  Mundo.  — 
MS.  (Holland).  By  Enriquez  Gomez. 

Sol  (EI)  en  el  Nuevo  Mundo,  o  Descubrimiento  de  las  Batue- 
cas.  —  El  Descubrimiento  de  las  Batuecas  del  Duque  de  Alba. 
—  By  Juan  Claudio  de  la  Hoz  y  Mota. 

Tanto  hagas  quanto  pagues.  —  Moreto?  In  a  suelta  it  is  as- 
cribed to  Jacinto  Cordero;  but,  as  he  was  born  in  1606  and  the 
play  was  represented  at  least  as  early  as  1625,  this  ascription  is 
doubtful.  See  Alphabetical  hist.  It  is  the  same  play  zsLa  Traicioii 
vengada. 

Tragedia  (La)  por  los  Celos.  —  XXIV,  Madrid,  1640.  By 
Guillen  de  Castro. 

Trato  (El)  muda  Costumbres.  —  By  Antonio  de  Mendoza  ? 

Valeroso  (El)  Aristomenes  Mesenio.  —  S.  (Holland).  Dif. 
XXXI,  i6^8;Escog.  XX,  in  both  these  volumes   it  is  ascribed 


266  HUGO    A.    RENNERT 


to  its  real  author  Alfaro.  It  also  bears  the  title  Oiiitar  eJ  Feiido  a 
sn  Pallia,  Arislomenes  Mesenio  in  a  suclta  that  I  possess  (Valencia, 
Viuda  de  Joseph  de  Orga,  1761,  ascribed  to  Matos  Fragoso.  It  is 
the  same  play  as  For  cI  Esfiiet\o  la  Dicha  which  is  printed  under 
the  name  of  Coello.  Schaeffer,  II,  p.  89.  Salva,  I,  571. 

Venganza  (La)  honrosa.  —  Parte  VI  de  Lope  y  otros.  By 
Caspar  de  Aguilar. 

Virgen  (La)  de  los  Remedies.  —  (See  Ordeu  de  la  Reden- 
f /(»/.) 

Zelos  con  Zelos  se  curan.  —  H.  Parte  XXVI,  extravagante.  By 
Tirso  de  Molina.  See  Salva,  I,  548. 

Zelos  (Los)  de  Carrizales.  —  Fajardo.  (See  Zeloso   Exlrenieho.) 

Zeloso  (El)  Extremeno.  —  H.  This,  and  the  Second  Part, 
entitled  Los  Zelos  de  Carri~ales,  which  Fajardo  ascribes  to  Lope, 
are  bv  Antonio  Coello. 


CATALOGUE  OF  AUTOS 

AUTOS   PUBLISHED  COLLECTIVELY 

Fiestas  del  Snntissimo  Sacramento,  repaviidas  en  Do~e  Autos 
Sacranientales,  con  sus  Loas  y  Entremeses.  —  Caragoca  :  Pedro 
Verges.  1644./—  Brit.  Mus.',  J.  R.  C.  and  H.  A.  R.).  Reprint- 
ed  in  Obras  sueJtas,  XVIII. 

The  book  contains  twelve  autos,  each  with  a  loa  and 
entr ernes  (See  p.  267). 

Navidad  y  Corpus  Christi  festejados  por  los  nu'jores  Ingenios  d^ 
Espana,  en  dicz  v  seis  autos  a  lo  divino.  Representadas  en  esta 
Corte,  y  nunca  hasta  ahora  impresos.  Recogidos  por  Isidro  de 
Robles,  natural  de  Madrid.  Madrid,  1664.  Joseph  Fernandez  de 
Buendia.  (Brit.  Mus.  and  Duran). 

This  volume  contains  the  following  pieces  by  Lope  : 

El  Tirano  castigado ;  auto  del  Nacimiento  de  Crisio. 


BIBLIOGRAPHY    OF  LOPE   DE  VEGA 


267 


AUTOS 

IIRST  VHRSE  Ol'  EACH    LOA 

I-.NIKKMI  SI  s 

El  Nombre  dc  Jesus. 

Que  siempre  en  losgrandcs  dias. 

El  Lctrado. 

El  Hcrcdtro  del  Cielo. 

En  la  plaza  de  Santa  Maria. 

El  Soldadiilo. 

Los      Acrehedores      del 

Alia  en  garganta  la  Olia 

El  Poeta . 

Hombre . 

El  Pan  y  el  Palo. 

En  la  cama  de  los  vicios 

El  Robe  dc  Elena. 

El  Misacantano. 

Falta  de  humano  consuelo. 

La  Hechicera. 

Las  Aucnturas  del  Hom- 

Buenas noches,  digo  dias . 

El  Marques  dc  .Mfarache. 

bre. 

La  Siega. 

Licencia,  Senor,  expressa. 

El  Degollado. 

El  Pastor  Lobo. 

Valgame  San  lorge,  amen. 

La  Muestra  de  los  ("Garros. 

La  Buelta  de  Egipto. 

Por  la  puerta  de  la  culpa 

Los  Organos . 

El  Nino  Pastor. 

Hi  deputa,  mala  cara 

El  Remediador. 

Los  Cantares. 

Sobre  entrar  en  una  liucrta 

Daca  mi  muger. 

La  Puente  del  Mundo. 

El  Consistorio  divino. 

Las  Comparaciones. 

El  Nacimiento  de  Cristo  Nuestro   Senor. 

De  los  Titulos  de  las  Comedias  (a  loa  which  precedes  Cal- 
deron's  aitto  entitled  El  divino  Jason. 

El  Peregrino  en  5// P^/m,  Sevilla,  1604,  contains  the  following 
ant  OS  by  Lope  : 

El  Viaje  del  Alma,  —  Represented  at  Barcelona  (1599  ?)• 

Las  Bodas  del  Alma  y  el  Amor  divino.  —  Represented  at  the 
octave  of  Corpus,  1599,  at  Valencia,  v.  Ztfi.  XXII,  102. 

La  Maya.  —  Represented  at  Zaragoza  :  written  in  \'alcncia, 
1588-1590  ? 

El  Hijo  prodigo.  —  Repre.sented  at  Perpignan  ?  v.  Ztft . 
XXII,  102. 

AUTOS    SUELTOS 


(In  the  British  Museum,  in  Chorley's  collection,  and  in  Lord 
Holland's  library.). 


268  HUGO    A,    RENNERT 


El  nuevo  Oriente  del  Sol,  y  mas  dichoso  Portal.  Auto  al 
Nacimiento.  —  See  El  Nacimiento  de  Cristo  Nuestro  Seiior. 

Las  Prisiones  de  Adan.  —  Auto  al  Nacimiento  de  Cristo. 

In  the  Holland  copy  it  is  ascribed  to  Lope.  Huerta  attributes 
it  to  Lope  and  Gallo  del  Castro,  who  lived  long  afterwards.  La 
Barrera  suggests  that  Huerta  confounded  Gallo  del  Castro's  auto 
Las  Prisiones  de  Mow  with  the  present  piece. 

Medel  and  Huerta  are  alone  in  denoting  the  following  autos  : 

La  Carcel  de  Amor. 

La  Concepcion  de  Nuestra  Seiiora. 

La  Coronacion  de  la  Humanidad  de  Cristo  '  (Medel). 

El  Corsario  del  Alma  y  las  Galeras. 

Los  Hijos  de  Maria  del  Rosario.  [Now  printed  in  Acad.  IIL] 

La  Margarita  preciosa.  [Acad.  IL,  and  the  two  following.] 

El  Pastor  ingrato.  [This  is  the  same  as  El  Nino  Pastor.  | 

El  Triunfo  de  la  Iglesia. 

AUTOS  IN  MANUSCRIPT 

In  the  Biblioteca  Nacional  (Madrid). 

Obras  son  Amores.  —  Autograph,  dated  May  31,  161 5.  Cat. 
B.  N.  No.  2433.  Acad.  II. 

La  Isla  del  Sol.  —  Autograph  (in  part),  dated  April  6,  1616. 
Ca/.B.N.No.  1641.^^^/.  III. 

El  Tuson  del  Rey  del  Cielo.  —  Copy,  dated  May  17,  1623. 
Cat.  B.N.  No.  3^,j6.Acad.  III. 

Las  Hazaiias  del  segundo  David.  —  Autograph,  dated  April 
28,  1 6 19.  [This  auto,  apparently,  is  no  longer  in  the  Bib.  NacJ. 

Auto  de  la  Santa  Inquisicion.  —  1629.  Cat.  B.  N.  No.  3033. 
Acad.  III. 


I .  Huerta  ascribes  this   auto  to  Calderon  :   but  it  does  not    appear  in  the 
volume  of  his  collected  autos. 


BIBLIOGRAPHY    OF    LOPE   DE    VEGA  269 

La  Adultera  perdonada.  —  Cat.  B.  N.  No.  51.  Acad.  III. 

Las  Albricias  de  Nuestra  Senora.  —  Cat.  B.  N.  No.  72. 
Acad.  IIL 

El  Ave  Maria  y  Rosario  de  Nuestra  Senora.  —  Cat.  B.  N. 
No.  294.  Acad.  IL 

La  Oveja  perdida.  —  Cat.  B.  N.  No.  2471.  Acad.  IL 

La  Privanza  del  hombre.  —  Cat.  B.  N.  No.   2742.  Acad.  II. 

La  Locura  por  la  Honra.  —  Cat.  B.  N.  No.  1906.  Acad.  II. 

El  Hijo  de  la  Iglesia.  —  CaLB.  N.No.  15 14.  Acad.  IL 

El  divino  Pastor.  [The  same  as  El  Nino  Pastor.  ]  v.  El  Pastor 
ingrato. 

El  Pastor  ingrato.  — Cat.  B.  N.  No.  2524.  Acad.  II. 

El  Triunfo  de  la  Iglesia.  —  Cat.  B.  N.  No.  3352.   Acad.  III. 

El  Villano  despojado.  —  Cat.  B.  N.  No.  3496.  Acad.  II. 

El  Rosario  de  los  Hijos  de  Maria.  —  Cat.  B.  N.  No.  2941.  It 
is  the  same  as  Los  Hijos  de  Maria  del  Rosario.  Cat.  B.  N.  No. 
1528.  Acad.  III.  It  will  be  seen  that  this  piece  is  entered  twice 
in  Paz  yMelia's  Catalogue  :  first  as  an  auto  (Ho.  1528),  then  as 
a.  comedia(]<io.  2941). 

La  Araucana.  —  Cat.  B.  N.  No.  237 ;  Acad.  III. 

Las  Aventuras  del  Hombre.  —  Cat.  B.  N.  No.  301  •,Acad.  II. 

Los  Cantares.  —  Cat.'Q.  N.  No.  488;  Acad.  II. 

Auto  Sacramental  de  la  Circuncision  y  sangria  de  Cristo 
nuestro  Bien.  Cat.  B.  N.  No.  603 ;  Acad.  II. 

Auto  Sacramental  de  los  dos  Ingenios  y  Esclavos  del  Santi- 
simo  Sacramento.  —  Cat.  B.  N.  No.  1018  ;  Acad.  III.  Restori 
Ztft.  XXII,  113)  says  the  true  title  of  this  auto  is  El  Desen- 
gaho  del  Mundo. 

Venta(La)  de  la  Zarzuela.  —  Copy  dated  March  16,  161 5  ; 
Cat.  B.  N.  No.  3452.  Acad.  III. 

Puente  (La)  del  Mundo.  — MS.  (Duran),  dated  1616.  Cat. 
B.  N.  No.  2769.  Acad.  IL 

In  the  British  Museum  : 

El  Principe  de  la  Paz,  y  Transformaciones  de  Celia  (with 
Mescua's  name.)  Acad.  IIL  , 


270  HUGO    A.    RENNERT 


El  Yugo  de  Cristo  (anonymous).  Acnd.  II. 

The  two  manuscript  copies  of  these  two  autos,  dated  1629 
and  1630  respectively,  are  noted  in  the  catalogue  of  Vicente 
Salva,  who  ascribes  both  pieces  to  Lope. 

CATALOGUE  OF  LOPE  DE  \'EGA'S  AUTOS 
IN  ALPHABETICAL  ORDER 

Acreedores  (Los)  del  Hombre.  —  Fiestas  del  Santisimo 
Sacramento,  164^  ;  MS.  copy  (Parma)  dated  1620.  Restori, 
p.  17,  and  Ztff.  XXII,  104. 

Adultera  (La)  perdonada.  —  H  ;  M  ;  MS.  copy  (Osuna) ; 
Cat.  B.  N.  No.  51.  Acad.  III.  At  the  end  of  the  MS.  it  is  also 
called  La  CJemeucia  en  La  Vengan~a. 

Albricias  (Las)  de  Nuestra  Senora.  —  H;  MS.  (Osuna)  ;  Cat. 
B.  N.  No.  72.  Acad.  III. 

Araucana  (La).  —  MS.  copy  (Osuna),  Cat.  B.N.  No.  237; 
Acad.  III. 

Ave  Maria  (El)  y  Rosario  de  Nuestra  Senora.  —  MS.  copy 
(Osuna),  Cat.  B.  N.  No.  294;  Acad.  11. 

Aventuras  (Las)  del  Hombre.  —  H.  Fiestas  del  Santisimo 
Sacramento,  1644  ;  MS.  copy  (Osuna),  with  licence  of  1638, 
Cat.  B.  N.  No.  301  ;  Acad.  II. 

Bautismo  (El)  de  Cristo.  —  MS.  copy.  Cat.  B.  N.  No.  352  ; 
Acad.  II. 

Bodas  (Las)  del  Alma  y  el  Amor  divino.  —  El  Peregrino  en 
su  Patria,  1604.  Acad.  II. 

Cantares  (Los).  —  Fiestas  del  Santisimo  Sacramento,  1644  : 
MS.  copy  (Duran),  Cat.  B.  N.  No.  488 ;  Acad.  II. 

Carcel  (La)  de  Amor.  —  M  ;  H. 

Circuncision  (La)  y  Sangria  de  Cristo.  —  MS.  copy  (Duran), 
Cat.B.  N.  No.  6oy,Acad.  11. 

Concepcion  (La)  de  Nuestra  Senora.  — This  is  the  third  Act 
of  Lope's  Naciinicnto  del  Alba.  Published  by  Restori,  Degli 'Autos' 


BIBLIOGRAPHY    OF    LOPE   DE    VEGA  27 1 

di  Lope  de    Vega  Carpio,  Parnin,    1898  ;  sec    also  Ztft.    XXII, 
120. 

Coronacion  (La)  dc  la  Humanidad  dc  Cristo.  —  M;  Hucria 
ascribes  it  to  Calderon,  hut  it  does  not  appear  among  CalderoiTs 
collected  aulas. 

Corsario  (El)  del  Alma,  y  las  Galeras. 

Cortes  (Las)  de  la  Muerte.  — Acad.  III. 

Divino  (El)  Pastor.  —  It  is  the  same  as  El  Nino  Pastor  and 
El  Pastor  ingrato,  q.  v. 

Dos  Ingenios  y  Esclavos  del  S.  S.  —  Written  by  Lope  and 
Montalvan  ?  According  to  Restori  (Z///.  XXII,  113)  the  real 
title  of  this  anto'is  El  Deseugaho  del  Mitiido.  MS.  copy  (Duran), 
Cat.  B.  N.  No.  1018.  There  is  a  better  MS.  (of  the  beginning 
of  thexvii  century)  at  Parma.  Acad.  III. 

Hazanas  (Las)  del  segundo  David.  —  H  ;  MS.  (Osuna)  dated 
1619.  Apparently  this  MS.  did  not  pass  to  the  Bib.  Xac. 
with  the  rest  of  the  Osuna  collection. 

Heredero  (El)  del  Cielo. —Fiestas  del  S.  S.,  1644.  Acad.  II. 

Hidalgo  (El)  celestial.  —  Represented  at  Valencia  by  Morales 
in  161 1.  V.  Merimee,  Spectacles  et  Comediens  a  Valencia,  p.   78. 

Hijo(El)de  la  Iglesia.  —  H  ;  MS.  copy  (Osuna),  Cat.  B.  N. 
No.  1 5 14.  Acad.  II. 

Hijo  (El)  prodigo.  —  El  Peregrino  en  su  Patria,  1604. 
Acad.  II. 

Hijos  (Los)  de  Maria  del  Rosario.  —  MS.  copy  (Osuna), 
Cat.  B.  N.  No.  1528.  There  is  also  an  early  MS.  at  Parma. 
Restori,  Una  Colle::ione,  etc.,  Ztft.  XXII,  115. 

Isla  (La)  del  Sol.  —  H.  (anon.)  ;  MS.  (Osuna),  the  last  two 
leaves  in  Lope's  hand,  dated  April  6,  1616,  with  licenses  at 
Valladolid,  1616,  and  Valencia,  1617.  Ca/.  B.  N.  No.  1641. 
Acad.  III. 

Locura(La)  por  la  Honra.  —  M.  and  H.  quote  an  auto  of  this 
title  by  Tirso  de  Molina.  MS.  copy  (Osuna).  Cat.  B.  N.  No. 
1906.  Acad.  II. 


'  C  LA^   dU^i^J  (-   '^°  S-yo 


r 

/olc 

l/K^    - 

Jau^'i-,^ 

l/v- 

h'^ 

.{^•^T 

272  HUGO    A.    RENNERT 


Margarita  (La)  preciosa.  —  M  ;  H  ;  Acad.  II. 

Maya  (La).  —  El  Peregrino  en  su  Patria,  1604.  Acad.  II. 

Misacantano.  —  Fiestas  del  Santisimo  Sacramento,  1644. 
Acad.  II. 

Xacimiento(El)  de  Cristo  Nuestro  Senor.  —  Navidad  y  Corpus 
Christi  festejados,  etc.  1664.  S.  (Brit.  Mus.  and  Duran).  There 
is  also  a  sitelta  of  Valladolid,  with  the  title  El  mievo  Oriente  del 
Sol,  y  mas  dichoso  Portal,  v.  Restori,  Ztft.  XXII,  pp.  iii,  and 
foil.  Acad.  II. 

Natividad  de  Nuestra  Senora.  —  It  is  by  Lope,  according  to  a 
MS.  contemporary  with  the  author,  possessed  by  Salva.  Cat., 
\,  p.  66^. 

Niiio  Pastor  (El).  —  Fiestas  del  Santisimo  Sacramento,  1644. 
Acad.  II.  It  is  the  same  as  El  divim  Pastor  and  El  Pastor 
ingrato. 

Nombre  (El)  de  Jesus.  —  Fiestas  del  Santisimo  Sacramento, 
1644.  Acad.  II, 

Nuevo  (El)  Oriente  del  Sol,  y  mas  dichoso  Portal.  —  H  ;  S. 
(Brit.  Mus.  and  J.  R.  C).  It  is  the  same  as  El  Nacimiento  de 
Cristo  Nuestro  Sehor,  above. 

Obras  son  Amores.  —  MS.  autograph,  dated  May  31,  161 5. 
Cat.  B.  N.  No.  2433.  Acad.  II.  It  has  nothing  to  do  with  Lope's 
comedia  with  the  same  title. 

Oveja  (La)  perdida.  —  H.  MS.  (Osuna),  Cat.  B.  N.  No. 
2471.  Acad.  II. 

Pan  (El)  y  el  Palo.  Fiestas  del  Santisimo  Sacramento,  1644. 
Acad.  II. 

Pastor  (El)  ingrato.  —  See  El  Nino  Pastor.  Acad.  II. 

Pastor  (El)  Lobo  y  Cabana  celestial.  —  Acad.  II.  Perhaps 
this  is  the  same  as  the  auto  El  Pastor  Lobo  represented  at 
Seville  by  Andres  dc  la  Vega  in  1624.  v.  Sanchez  Arjona,  Teatro 
en  Sevilla,  234. 

Prisiones  (Las)  de  Adan.  —  S.  (Brit.  Mus.,  J.  R.  C,  Duran, 
Holland.) 


BIBLIOGRAPHY    OF  LOPE    DE   VEGA  27^ 


Principe  (El)  de  la  Paz,  —  MS.  (Brit.  Miis.).  Probably  the 
same  as  El  Principe  de  la  Pa^  y  Trans fonuucioiu";  de  Celia.  Del 
ano  de  1629  para  las  Fiestas  de  Madrid.  De  Lope  de  \'ega  Car- 
pio  ;  MS.  in  possession  of  Salva.  Catdlogo,  I,  551.  Medel 
ascribes  it  to  Mescua.  Acad.  III.  An  aiilo  entitled  El  Principe 
de  la  Pai  was  represented  by  the  company  of  Ortiz  in  Seville 
at  Corpus^  1619.  Sanchez-Arjona,  p.  208. 

Privanza  (La)  del  Hombre.  —  H.  MS.  (Osuna),  Cat.  B.  N. 
No.  2742.  According  to  Sanchez-Arjona,  p.  123,  this  MS. 
bears  a  license  to  represent  it  at  Seville,  dated  May  26,  1605. 
Acad.  IL 

Paente  (La)  del  Mundo.  — MS.  (Duran),  dated  1616.  Cat. 
B.N.  No.  2769.  Acad.  IL 

Santa  Inquisicion  (La).  —  H.  MS.  (Osuna).  Cnl.  B.  N; 
No.  3033,  dated  1629.  Acad.  III. 

Siega  (La).  —  Fiestas  del  Santisimo  Sacramento,  1644 
Acad^ll. 

Tirano  (El)  castigado.  —  Navidad  y  Corpus  Christi  festejados, 
etc.,  1664.  Acad.  II. 

Triunfo  (El)  de  la  Iglesia.  —  MS.  (Osuna),  Cal.  B.  K. 
No.  3352.  Acad.  III.  V.  i///.  XXII,  116. 

Tuson  (El)  del  Rey  del  Cielo.  —  H.  MS.  (Osuna),  dated 
May,  17,  1623.  Cat.  B.  N.  No.  ^}j6.  Acad.  Ill;  An  anio 
entitled  El  Tuson  was  represented  by  Cristobal  de  Leon  in 
Madrid  in  16 17.  Bull.  Hisp.  382  (1907). 

Venta  (La)  de  la  Zarzuela.  —  MS.  copy  (Duran),  dated  at 
Galbes,  March  16,  161 5,  «  sacose  en  casa  de  Alonso  Carrillo  ». 
Cat.B.  N.  No.  3452.  Acad.  IIL 

Viaje  (El)  del  Alma.  —  El  Peregrino  en  su  Patria,  1604. 
Acad.  II. 

Villano  (El)  despojado.  —  MS.  (Duran),  Cal.  B.  N.  No. 
3496.  Acad .  IL 

Vuelta  (La)  del  Egipto.  —  Fiestas  del  Sanlisinw  Sacramento, 
1644.  Acad.  II.  Perez  Pastor.  (Proceso  de  Lope  de  Vega,  p.  u8) 

REVUE    HISPANIQUE.    G.  '° 


2  74  HUGO    A.    RENNERT 


says  :  If  the  Fiielta  deEgipto  be  the  same  as  El  Retorno  de  Egiplo, 
then  it  is  one  of  those  pieces  which  Lope  gave  to  Jeronimo 
Velazquez,  antor  de  comedias,  during  the  time  they  were  on 
friendly  terms,  and  it  may  likewise  be  conjectured  that  it  was 
written  shortly  before  its  representation  in  Madrid  in  1584.  Res- 
tori,  Ztft.  XXII,  107,  calls  attention  to  an  aulo  in  MS.  at 
Parma,  entitled  Buelta  de  Ejipto,  which  he  had  previously 
noted  in  Stiidj.  fasc.  15,  (1891),  p.  126,  No.  723.  He  thinks 
this  is  an  older  «///o  than  Lope's,  and  may  have  served  as  Lope's 
model,  and  he  has  published  it  in  Degli  (.<■  Autos  ^t  diLopede  Vega 
Carpio,  Parma,  1898.  Prof.  Restori  here  says  that  he  now 
believes  that  this  older  auto  is  also  Lope's. 

Yugo  (El)  de  Christo.  —  MS.  (Brit.  Mus.);  Probably  the 
MS.  (with  a  license  for  its  representation  dated  at  Alcala,  1630) 
indicated  in  Salva's  Catalogo,  I,  551,  and  there  ascribed  to  Lope 
de  Vega.  Acad.  II. 

SUMMARY    OF    THE    CATALOGUE    OF    AUTOS 

Autos  published  in  collections  or  separately  40 

Autos  existing  in  snellas  and  MS.,  or  denoted  in   Cata- 
logues. 8 


48 
Four  of  these  are  known  solely  by  the  mention  made  of  them 
in  the  Catalogues  of  Medeland  Huerta.  Chorley  renounced  the 
attempt  to  draw  up  a  list  of  Lope's  entreiueses  on  the  ground  that 
theauthenticitv  of  those  ascribed  to  him  is,  in  most  cases,  doubt- 
ful . 


Autores  mentioned  by  Lope  as  having  played  in  his  Comedias. 

[Most  would  seem  to  belong  to  Lope's  first  period.  See  Ren- 
nert,  The  Spanish  Stage.  New  York,  1909.] 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  275 


Avendano  [Cristobal  tie].  (En  la  mayor  Lealtad  mayor  Agra- 
vio.)  P.  Quinas  de  Portugal.  S.  (J.  R.  C). 

Balbin  [Domingo].       (Caballcro  del  Sacramento,  XV.) 

Cebrian  [PedroJ.     (Quien  mas  no  puede,  1616.) 

Figueroa  [Roque  de]. 

Granados  [Antonio].     (Pedro  Carbonero,  XIV.  P.) 

Granados  [Antonio].     (Pedro  Carbonero,  XIV.  P.) 

Leon  [Melchor  de].     (Lucinda  perseguida.  P.) 

Morales  [i.  e.  Juan  de  Morales  Medrano].  (Las  Almenas  de 
Toro,  XIV.) 

Osorio,  «  autor  antiguo  »,  i.  e.  Rodrigo  Osorio.  —  (El  Sol- 
dado  Amante,  XVII.  P.) 

Pinedo  [Baltasar  de].     (La  Batalla  naval.  XV.  P.) 

Porras,  i.  e.  Caspar  de  Porres.  Represented  Lope's  comedias 
as  early  as  1586. 

Rios  [Nicolas  de  los].  (El  verdadcro  Amante  ;  La  Bella  mal 
maridada.  P.) 

Riquelme  [Alonso].     (La  Buena  Guarda,  1610). 

Sanchez,  i.  e.  Hernan  Sanchez  de  Vargas.  (La  Hermosa  Ester, 
1610.) 

Valdes  [Pedro  de].  (Con  su  Pan  se  lo  coma.  Written  before 
1618.) 

Valenciano  [Juan  Bautista]     (El  Desden  vengado,   16 17). 

Vallejo  [Manuel].     (La  Ninez  de  San  Isidro,  1622). 

Vega  [Andres  de  la].     (El  Brasil  restituido,  1625). 

Vergara[Luis  de].     (El  Favor  agradecido,  1593). 

Velazquez  [Jeronimo] .  Represented  Lope's  comedias  at  least 
as  early  as  1 586. 

Villalba  [Melchor  de].     (El  Maestro  de  Danzar,   1594.) 

Villegas  [Antonio  de].  (Los  Locos  de  Valencia,  before  1603.) 

In  the  Prologue  to  Part  XVI  (1620)  Lope  speaks  of  the  fol- 
lowing autores  as  belonging  to  a  bye-gone  time  : 


276  HUGO    A.    REXXERT 


Cisneros 

Ramirez 

Cristobal 

Rios 

Leon 

Rocha 

Loyola 

Salvador 

Navarro 

Solano 

Tapia. 


It  seems  appropriate  to  add  a  tew  words  concerning  the  dis- 
tinguished scholar  upon  whose  work  the  foregoing  lists  are 
based.  The  materials  of  the  appended  note  are  derived  from  the 
two  volumes  entitled  Henry  Fothergill  Chorley  :  Autobiography, 
Memoir  and  Letters.  Compiled  by  Henry  G.  Hewlett  (London, 
1873).  It  is  much  to  be  regretted  that  Henry  Chorley,  the 
well-known  musical  and  literary  critic  of  The  Athenceum,  has 
left  but  a  fragmentary  account  of  his  elder  brother's  career. 

John  Ruttcr  Chorley  came  of  a   Qiiaker  stock  settled  in  Lan- 
cashire. He  was  born  at  Blackley  Hurst,  near  Billinge,  about  the 
year  1807.  His  brother  thus   describes  him   as  a  child    :    «  He 
had  the  precocious  fancy  of  a  born  poet.   As  has  been  the  case 
with  other  gifted  children  he  could  amuse  himsell  by  inventing 
creatures  as  little  mortal  as  the  glums  and  the  goories,    finding 
them  with  aiventures  that  went  on  from  month  to  month,  fit- 
ting them  up  with  vocabularies  of  their  own,  \\-riting  their   his- 
tories in  neatly-kept  books,  and  gracing  the  same  with  pictures  ». 
He  grew  up  a  merry,  high-spirited  lad,  of  a  singular   physical 
strength,  which  enabled  him  to  hold  his  own  against  men  during 
a  long  day's  mowing.  He  was  fond  of  dancing,  riding,  boating, 
given  to  pranks  of  all  kinds,  escaping  punishment  by  climbing 
to  dangerous   heights,  and  refusing   to    come  down  till  he  had 
made  his  own  terms.  In   181 9  his  family    moved   to  Liverpool, 
and  he  was  sent  to  the  school  of  the  Royal  Institution,  opened 
a  short  time  earlier  under  the  headmastership  of  the  Rev.  John 
Boughly  Monk,   a  sound  classical  scholar.  Chorley   outstripped 


BIBLIOGRAPHY    OF  LOPE    DH    VEGA  277 

his  seniors,  and  was  soon  at  tiie  head  of  the  school.  His  remark- 
able memory  made  learning  easy  to  him.  For  some  boyish 
piece  of  mischief,  he  was  sentenced  to  learn  by  heart  as  much  as 
possible  of  the  ^Eneid  by  next  morning —  he  then  repeated  the 
entire  First  Book  without  hesitation,  and  was  about  to  recite 
the  Second  when  cut  short  by  his  harassed  and  delighted  mas- 
ter. Some  of  his  comrades,  smarting  under  their  inferiority, 
took  a  mean  revenge  by  jeering  at  his  shabby  clothes,  his 
poverty,  his  unfashionable  Quaker  creed  ;  but,  on  the  whole, 
his  school-days  v/ere  not  unhappy.  It  was  important  that  he 
should  earn  his  bread  as  soon  as  possible,  and,  having  learned 
all  the  Greek  and  Latin  that  Monk  could  teach  him,  the  youth 
was  placed  in  a  Liverpool  merchant's  office.  Uncongenial  as  the 
position  was  to  him,  Chorley  discharged  his  duties  with  charac- 
teristic diligence.  «  He  was  no  more  fitted  »,  says  his  brother, 
«  for  taking  down  the  particulars  of  ship's  cargoes,  or  transcrib- 
ing the  details  ot^the  day's  cotton-market  ten  times  over  than 
I  was  ;  but  he  could  not  bear  to  do  anything  short  of  his  best  ». 
In  his  spare  time  Chorley  cultivated  his  musical  gifts,  and  became 
an  excellent  performer  on  several  instruments  :  he  improved  his 
French  (in  which  he  had  had  some  lessons),  taught  himself 
German,  Italian  and  Spanish,  and  studied  the  literature  of  each 
language. 

He  had  toiled  in  obscurity  for  some  years  when  the  Grand 
junction  Railway  was  completed  between  Liverpool  and  Birmin- 
gham. The  new  company  needed  a  secretary  who  would  create  a 
system,  and  call  the  entire  railway  service  into  existence.  The 
company's  solicitor  bethought  him  of  a  young  man  whom  he 
had  met  by  chance  in  the  course  of  business  at  Liverpool,  and 
whose  exceptional  ability  had  greatly  impressed  him.  He  recom- 
mended this  untried  clerk  to  the  Directors,  and  Chorley  obtain- 
ed the  appointment.  Chorley  entered  upon  his  task  with  an 
almost  ferocious  energy.  Henry  Chorley  writes  :  «  If  he  did  not 
spare  himself,  he  did  not  spare  others.  Feeling  his  own  respons- 


278  HUGO    A,    RENNERT 


ibility,  he  was  rightly  alive  to  that  of  the  subordinate  persons 
who  had  to  work  out  the  undertaking.  He  would  take  no 
excuse  for  any  man's  absence  from  duty.  1  believe  that  of  the 
staff  whom  he  had  to  organize  and  to  control  about  a  quarter 
was  left  at  the  end  of  the  first  three  months.  This  may  sound 
harsh,  but  is  was  right...  In  one  respect  I  hold  him  to  have  been 
admirable  as  the  servant  of  a  company  of  capitalists.  He  would 
not  use  his  knowledge  and  prescience  to  advance  his  own  for- 
tunes. I  have  heard  him  again  and  again  say  that  his  business 
was  to  keep  his  mind  clear  and  ready  for  the  duties  of  the  hour 
as  undertaken  by  him  ».  It  is  not  unnatural  that  Chorley's  stern- 
ness held  men  aloof  from  him  :  henceforward  throughout  life 
he  remained  absolutely  lacking  in  the  art  of  conciliation.  «  He 
was  respected  and  trusted  »,  says  his  brother,  «  but  he  was  not 
popular,  partly  from  a'  certain  reserve  and  haughtiness  of  man- 
ner, in  which  a  consciousness  of  his  own  superiority  to  those 
who  surrounded  him  expressed  itself.  It  was  too  evident  that  he 
was  doing  faithful  and  indefatigable  service  against  the  grain.  » 

After  years  of  arduous  labour,  not  over-Uberally  recognized, 
Chorley  inherited  from  his  maternal  uncle,  Dr.  Rutter  of  Liver- 
pool, a  modest  fortune  which  made  him  independent,  and  en- 
abled him  to  settle  in  London  with  his  mother  and  sister.  His 
wide  knowledge  of  continental  literatures  was  speedily  utilized 
by  the  editor  of  The  Athcnasuni,  in  which  journal  he  wrote  fre- 
quently between  1846  and  1854.  One  of  the  books  which  came 
before  him  for  judgment  was  a  volume  entitled  Six  Dramas  of 
Calderon  rendered  into  English  by  Edward  Fitz  Gerald,  famous 
subsequently  as  the  translator  of  Omar  Khayyam.  Chorley  was 
by  no  means  an  uncritical  admirer  of  Calderon  after  the  fashion 
ol  that  day,  but  he  respected  the  Spanish  dramatist  sufficiently 
to  resent  Fitz  Gerald's  free-and-easy  methods,  and  according- 
ly dismissed  the  new  version  in  a  brief  note  (The  Athenxuvi, 
1853)  which  the  victim  called  «  a  determined  spit  at  me  »  (Let- 
ter to  George  Crabbe,  September  12,  1853).    ^'•^'^   Gerald  smarted 


BIBLIOGRAPHY    OF   LOPE    DE    VEGA  279 


under  the  rod,  withdrew  the  unhicky  volume  from  circuhition, 
and  never  again  attached  his  name  to  anything  that  he  published. 
Two  very  brilHant  articles  on  the  Spanish  drama  by  Chorley, 
contributed  to  The  Atbeinviim  {November  19  and  November  26, 
1853),  attracted  great  attention  from  Spanish  scholars,  and  were 
warmly  praised  even  by  thoroughgoing  Calderonians,  such  as 
Archbishop  Trench.  These  articles  were  followed  six  vears  later 
by  a  more  detailed  and  no  less  admirable  essay  on  the  Spanish 
drama,  which  will  be  found  in  the  hfty-ninth  and  sixtieth 
volumes  o{Fra::^ers  Maga:{iue.  In  sympathy  with  the  subject,  in 
illuminative  criticism,  in  minute  knowledge  of  the  facts,  this 
later  study  has  never  been  surpassed.  It  is  a  grave  misfortune 
that  Chorley  never  executed  his  project  of  publishing  an  extens- 
ive treatise  on  the  Spanish  theatre  :  it  is  safe  to  say  that  he 
would  have  anticipated  most  of  the  work  tardily  accomplished 
during  the  last  forty  years.  I  have  already  spoken  {Life  of  Lope 
de  Vega,  pp.  417-418)  of  his  bibliography  of  Lope  de  Vega's 
Comedias,  issued  in  the  fifty-second  volume  (1861)  of  Rivade- 
neyra's  Biblioteca  de  Autores  Espaholes,  and  of  the  revised  version 
which  forms  the  basis  of  the  present  bibliography.  In  1865 
Chorley  published  A  Wife's  Litany,  a  rhymed  drama,  followed 
by  occasional  poems,  some  of  them  on  Spanish  themes.  Discou- 
raged by  the  cold  reception  of  this  volume  by  critics  and  the 
public,  he  destroyed  his  manuscript  poems.  This  completes  the 
tale  of  his  literary  achievement. 

Friends  who  recalled  the  astonishing  promise  of  his  early 
years,  and  who  remembered  that  he  was  still  a  young  man 
when  released  from  distasteful  drudgery  by  his  uncle's  legacy, 
were  inclined  to  think  that  Chorley  left  behind  him  nothing  that 
represented  his  real  powers.  Those  who  are  entitled  to  an  opin- 
ion on  the  matter  are  unanimous  in  their  appreciation  of  his 
immense  industry  and  the  uniformly  high  quality  of  his  work. 
In  many  respects  circumstances  were  against  him.  The  burden 
of  responsibility  had  crushed  his  youthful  gaiety,  and  nature,  so 


2 So  HUGO    A.    RENNERT 


lavish  to  him  in  other  respects,  denied  to  him  the  supreme  gift 
of  attracting  friendship.  «  My  brother,  »  writes  Henry  Chorley, 
«  was  singularly  handsome,  witli  such  a  sweet,  refined,  express- 
ive countenance  and  a  perfect  figure  as  are  rarely  found  in  com- 
bination. »  This  advantage  did  not  avail  him  with  his  contem- 
poraries. Henry  Chorley  was  no  doubt  right  in  saying  that  the 
change  of  fortune  came  too  late.  Solitude  had  left  its  indelible 
mark  on  Chorley,  and  to  the  last  he  remained  a  shy,  dogmatic, 
melancholy  recluse.  «  He  was  averse  to  society  save  on  the  very 
peculiar  and  exclusive  terms  which  suited  him.  Though  he 
could  discourse  on  most  topics,  .with  a  precision  of  knowledge, 
and,  generally,  a  justice  of  view  rarely  surpassed  or  equalled  — 
though  he  had  a  keen  sense  ot  wit  and  humour,  and  a  rich  store 
of  anecdote  and  allusion  to  fall  back  on  —  his  conversation  want- 
ed flow  and  lightness,  and  in  truth  was  apt  to  be  oppressive... 
Save  when  he  was  alone  among  his  books,  with  one  of  the  very 
few  friends  he  made,  he  harangued  rather  than  conversed.  » 
Yet,  despite  his  austere  reserve,  Chorley  was  a  man  of  deeply 
sensitive  aff"ections.  His  solicitude  for  his  invalid  sister  was  noble 
in  its  perfection.  During  the  twelve  years  that  she  lingered,  suff- 
ering from  a  most  painful  form  of  spinal  disease,  his  devotion 
to  her  was  absolute.  «  His  life  »,  observes  his  brother,  «  was 
laid  out  to  be  a  series  of  sacrifices,  met  by  him  with  a  sense  of 
duty  which  was  too  severe,  too  unselfish.  A  more  complete  case 
of  self-eff'acement  has  rarely  come  to  my  knowledge...  Save  in 
long  and  solitary  walks,  early  in  the  morning,  for  many  years 
he  rarely  crossed  the  threshold;  haunted  by  an  almost  morbid 
fear  of  mischance  which  might  happen  in  his  absence.  He  bore 
up  nobly  till  the  long  dreary  story  closed  ;  but  the  spring  of  life 
was  worn  out,  and  nothing  remained  to  him  but  the  company  of 
his  books,  in  the  silence  of  a  solitary  house,  entered  with  so 
much  hope  and  prospect  of  years  of  rest  and  enjoyment.  »  He 
buried  himself  more  and  more  in  his  library.  Apart  from  liter- 
ature, his  one  consolation  was  his  violincello.  «  The  pleasure  he 


BIBLIOGRAPHY    OF    LOPE    DE    VEGA  28 1 

had  in  books,  and  in  the  intimate  knowledge  of  books  brought 
one  reward —  his  power  seconded  by  liis  will,  to  sympathize 
with  and  aid  the  men  of  letters  whom  he  respected.  »  These 
were  few-  —  Ticknor,  Gayangos,  Carlyle  —  and  the  two  former 
Hved  out  of  England.  He  had  a  deep  and  wide  acquaintance 
with  French  and  German  literature,  but  by  degrees  the  charm  of 
Spanish  grew  upon  him,  and  ended  by  absorbing  him.  He  knew 
Spanish  Hterature  as  it  has  rarely  been  known,  and  he  knew  the 
Spanish  drama  best  of  all.  In  this  province  it  is  impossible  to 
over-estimate  his  know'ledge.  Chorley  is  the  veiy  type  of  the 
indefatigable,  scrupulous  student  who  does  great  things  in  a 
sphere  of  which  the  world  knows  nothing.  He  has  never  receiv- 
ed recognition  in  the  measure  that  he  deserves  :  nor  did  he 
stoop  to  seek  it.  To  him  knowledge  was  its  own  exceeding 
great  reward,  and  his  lofty  aims  led  him  to  scorn  men  of  softer 
fibre.  His  attitude  to  his  more  wordly-minded  brother  is  thus 
recorded  :  «  Till  within  a  very  few  years  of  his  death,  I  w^as 
somewhat  misjudged  by  him  as  one  who  had  chosen  my  life 
for  purposes  of  mere  amusement...  I  never  had  a  word  or  sign 
from  him  to  testify  that  anything  I  have  published  gave  him 
pleasure...  We  met  rarely,  but  we  met — under  every  conceivable 
disparity  of  culture,  and  of  social  habits —  with  mutual  respect. 
His  was  nobly  shown  to  me;  mine  is  humbly  returned  to  him, 
by  telling  the  whole  truth,  over  the  grave  of  a  man  hardly  tried, 
misunderstood,  and  undervalued  in  his  lifetime.  » 

Chorley  was  already  failing  in  health  when  he  published  A 
Wife  s  Litany,  and  in  1866  the  decline  became  more  marked.  He 
died  of  atrophy  on  June  29,  1867,  bequeathing  his  collection  of 
rare  Spanish  plays  to  the  British  Museum.  Their  number  may  be 
imagined  from  the  fact  that  their  titles  fill  nearly  seven  columns 
of  the  printed  catalogue  of  the  British  Museum  Library.  Their 
intrinsic  value  is  greatly  increased  by  manuscript  annotations 
embodying  biographical  and  bibliographical  details,  as  well  as 
textual  emendations  of  corrupt  passages.  Chorley  frequently  dis- 


282  HUGO    A.    RENNERT 


plays  extraordinar}'  cleverness  in  restoring  imperfect  copies,  and 
in  imitating  printed  characters  on  leaves  of  seventeenth-centur}^ 
paper,  which  he  acquired  at  great  expense  and  trouble.  Some  of 
his  «  made-up  »  title-pages  are  admirable  examples  of  what  skill 
can  do  to  remedy  defects. 

The  verdict  of  Cartyle  on  Chorlcy  may  stand  :  «  He  could 
have  written  like  few  men  on  many  subjects,  but  he  had  proudly 
pitched  his  idea  very  high.  I  know  no  man  in  these  flimsy  days, 
nor  shall  ever  again  know  one,  so  well  read,  so  widely  and  accu- 
rately informed,  and  so  completely  at  home,  not  only  in  all  fields 
of  worthy  literature,  but  in  matters  practical,  technical,  novel, 
mechanical  ».  This  is  the  impression  which  Chorley  made  upon 
a  contemporary  of  genius,  acquainted  with  the  foremost  men  ot 
the  day,  and  constitutionally  indisposed  to  lenient  judgment. 
Still,  it  is  by  his  work  upon  the  Spanish  drama  that  posterity 
remembers  Chorley.  And  surely  it  would  have  pleased  him,  into 
whose  strenuous,  sunless  life  pleasure  came  but  seldom,  to  know 
that  the  scholars  of  a  later  generation  associate  his  name  insepa- 
rably with  that  of  the  illustrious  poet  for  whose  renown  he 
laboured  so  much,  so  well,  and  so  enduringly. 


CONTENTS 


Preliminary  Note.  Page  r. 

CATALOGUE    OF   COMEDIAS   AXD    AUTOS  OF   FREY 

LOPE  FELIX  DE  VEGA  CARPIO.  3. 
Notes  and  explanations.  3  . 
Key  to  the  abbreviations .  5 . 

CATALOGUE  OF  COMEDIAS.  9. 

Comedias  published  collectively,  or  found  in  collections  known 

to  us.  9. 
Seis  Comedias  de  Lope  de  Vega.  9. 
Comedias  de  Lope  de  Vega  (Partes  I-XXV).  10. 
Fragments  of  Partes  Extravagantes  :   Comedias  de  Sevilla,  etc. 

34- 
Cuatro  Comedias  famosas  de  don  Luis  de  Gongora  y  Lope  de 

Vega,  recopiladas  por  Antonio  Sanchez.  38. 
La  Vega  del  Parnaso.  39. 
Relacion  de  las  fiestas...  de  San  Isidro.  .|o. 
Partes  Extravagantes  de  Lope.  40. 
Partes  de  Diferentes.  42. 
xMinor  Collections  of  Comedias   previous  to  the   Collection  ol 

Comedias  Escogidas.  48. 
Comedias  Escogidas.  49. 

Comedias  de  los  mejores  y  mas  insignes  ingenios  de  Espana.  53. 
Comedias  nuevas  de  los  mas  cclebres  autores,  etc.,  de  Espana. 

53- 

Comedias  of  Lope  de  Vega  in  Collections  of  Sueltas.  53. 

Fragments  of  volumes  or  «  Partes  »  of  Comedias  published  col- 
lectively. 67. 


284  CONTENTS 

Summary  of  the  Catalogue  of  «  Sueltas  ».  68. 

MANUSCRIPTS.  74. 

Summary  of  undated  manuscripts  in  alphabetical  order.  97. 

Summary  of  inedited  manuscripts.  105. 

Note  on  the  lists  of  plays   published  by   Lope  de  \'ega  in   «  H 

Peregrino  en  su  patria  ».  107. 
Note  on  the  Comedias  which  contain  no  Jj^iirn  del  doiuiyrc.  130. 
CATALOGUE   OF    LOPE    DE    VEGA'S    COMEDIAS    IN 

ALPHABETICAL  ORDER.  133. 
Summar}'  of  the  Catalogue  of  Comedias.  257. 
Supposititious  plays  ascribed  to  Lope.  260. 

CATALOGUE  OF  AUTOS.  266. 
Autos  published  collectively.  266. 
Autos  sueltos.  267. 
AUTOS  IN  MANUSCRIPT.  268. 

CATALOGUE  OF  LOPE  DE  \'EGA'S  AUTOS  IN  ALPHA- 
BETICAL ORDER.  270. 
Summar}'  of  the  Catalogue  of  Autos .  274. 

Autores  mentioned  by  Lope  as  having  played  in  his  Comedias. 
274. 

John  Rutter  Chorley.  276. 


COMPTES  RENDUS 


Jean-Henri    Probst.    Cnractere   et  orioine   des    idees  dii   Bienheiireux 
Raymond  Lulle.  Toulouse,  Privul,  1912,  in-8",  xvi-336  p. 

Une  etude  d'ensemble  sur  les  idees  dc  Kaymond  Lulle  est  un  sujet  conside- 
rable qui  exigerait  une  erudition  peu  commune  et  des  tacultes  de  synthese  tout 
a  fait  speciales  pour  repondre  reellement  aux  promcsses  du  litre.  M.  Probst  a 
beaucoup  travailie,  il  a  mis  de  I'ordre  dans  son  sujet,  la  partie  philosophique 
de  son  livre  indique  une  connaissance  serieuse  des  doctrines  mMievales  ;  cepen- 
dant,  la  methode  et  la  mise  en  oeuvre  nous  paraissent  trahir  encore  une  cer- 
taine  inexperience  et  nous  voudrions,  sans  rien  dissimuler  des  merites  de 
I'oeuvre  de  notre  jeune  confrere,  attirer  son  attention  sur  un  certain  nombre 
de  details,  parfois  assez  importants. 

La  bibliographic  du  sujet  sembic,  au  premier  abord,  considerable.  La  listc 
des  principaux  ouvrages  consultes  remplit  huit  pages.  C'est  beaucoup,  mais  il 
ne  suffit  pas  de  lire  beaucoup  de  livres,  il  faut  encore  et  surtout  en  savoir  dis- 
tinguer  la  valeur,  les  classer  par  ordre  de  merite  et  donner  au  lecteur  tous  les 
renseignements  qui  lui  permettront  de  savoir  ou  en  etait  la  question  avant  le 
nouveau  volume  et  ce  que  I'auteur  a  ajoute  a  ce  que  Ton  savait  avant  lui.  Une 
bibliographic  ainsi  etablie  est  longue  et  difficile  a  preparer,  mais  elle  renseigne 
presque  aussitot  sur  la  maturitc  de  I'auteur  et  la  valeur  scientifique  de  son  tra- 
vail. M.  P.  n'a  pas  apporte  tout  a  fait  assez  de  soin  a  I'etablissement  rrctho- 
dique  de  sa  bibliographie.  L'ordre  alphabetique  dans  lequel  il  a  range  tous  les 
auteurs  consultes  par  lui  n'est  pas  un  ordre  logique ;  il  ne  permct  pas  de  dis- 
linguer  les  sources  vraies  des  ouvrages  sans  valeur  mis  la  pour  faire  nombre  : 
ad  pompam  et  ostcutationem.  11  eut  fallu  ranger  les  sources  par  si^cle,  ou  don- 
ner une  bibliographie  particuliereen  tetede  chaquechapitre.  Parmi  les  ouvrages 
cites,  il  en  est  un  grand  nombre  qui,  d'apres  I'avis  de  M.  P.  lui-meme,  ne  pre- 
sentent  aucun  interet.  Pourquoi  citer  dans  un  ouvragc  d'erudition,  Andre 
(Marius),  Le  Bienheiireux  R.  Lulle,  panegyrique,  ouvragc  de  vulgarisation  sans 
references  ni  notes?  Les  livres  de  Custurer,  de  Roldan,  de  iManoel  de  Cena- 
culo  n'ont  guere  plus  de  v  deur  et  n'auraient  du  etre  cites  que  pour  mtJmoire. 
Nous  connaissons  la  Tradicid  catalana  du  D^  D.  Joscp  Torras  y  Bages ;  nous 


286  COMPTES  RENDUS 


aimons  peu  ce  livre  dc  propagande  regioiialiste,  oule  but  politique  poursuivi  par 
Fauieur  nuit  ccrtainemcnt  ^  Fimpartialitc  dc  I'historien.  Les  cent  pages  qu'il 
consacre  au  bienhcureux  Raymond  Lulie  (p.  234-330)  constituent  un  resume 
systcmatique  de  sa  vie  et  de  ses  oeuvres,  avec  beaucoup  de  considerations  etran- 
geres  au  sujet ;  ce  chapitre  ne  s'appuie  sur  aucun  ouvrage  posterieur  au 
xviiie  si^cle,  est  concu  dans  un  esprit  beaucoup  plus  tendancieux  que  critique 
et  ne  saurait  etre  considere  comme  une  source  vraiment  serieuse. 

Les  ouvrages  cites  par  M.  P.  ne  sont  pas  toujours  precises  avec  une  exacti- 
tude suffisante.  On  ne  doit  jamais  faire  figurer  dans  une  bibliographic  erudite 
des  mentions  comme  celles-ci  :  Saint  Augustin,  Qzuvres  couipVdes,  multiples 
editions  ;  BoUandistes,  Acta  Sanctorum  ;  saint  Bonaventure,  Opera  omnia.  II 
faut  s'efforcer  de  citer  tres  exactement  les  noms  des  auteurs,  ne  pas  appeler 
M.  Bonilla  y  San  Martin,  Bonillas,  comme  a  la  page  xvi,  ni  Bonillos  comme  a 
la  page  215.  II  eut  iallu  dire  que  son  etude  sur  D.  Fernando  de  Cordoba  a  paru 
a  Madrid  en  191 1.  Puisque  Ton  mentionnait,  et  avec  raison,  son  Historia  de 
la  Filosofia  espaiiola,  11  fallait  dire  que  deux  volumes  seulement  en  ont  paru,  a 
Madrid,  en  1908  et  191 1,  a  la  librairie  gen^rale  de  Victoriano  Suarez.  On 
aurait  trouv^  au  tome  II  de  cet  ouvrage  d'importants  renseignements  sur  la  vie 
et  les  idees  d'Aben-Gabirol,  I'un  des  principaux  philosophes  juifs  du  xi^siecle. 
Dans  le  Vives  du  mcme  auteur  (Madrid,  1903,  in-40),  on  aurait  rencontre  plus 
d'une  remarque  sur  la  pedagogie  lullienne  et  un  modele  acheve  de  bibliographie 
mcthodique. 

Sur  la  tres  iniportante  question  de  raverroi'sme,  M.  P.  aurait  pu  consulter 
I'excellent  chapitre  de  M.  Ch.  V.  Langlois  sur  la  Litteraliirc  savante  en  latin  au 
xiiK  siecle.  (E.  Lavisse,  Histoire  de  France,  t.  Ill,  2^  partie.  Paris,  Hachette, 
1901,  pp.  388-404.)  II  y  aurait  trouve  un  resume  tres  substautiel  de  toute  la 
querelle  et  de  precieux  renseignements  bibliographiques. 

Terminons  cette  critique  priliminaire,  lorcement  un  peu  maussade,  par 
quelques  remarques  de  detail.  On  aimerait  a  savoir  a  quelle  date  a  paru  a  Bar- 
celone  \ii  Sisteina  cientifico  Inliano  dc  Mossen  Salvador  Bovc  '.  Les  Heterodoxos 
espanoles  de  Menendez  y  Pelayo  ont  etc  publics  a  Madrid,  en  1 880-8 1 ,  en  3  vol. 
in-8°.  II  faut  ccrire  ctilto  iuuwmorial  et  non  cidto  imeifiorial,  doctor  ilnniinado  et 
non  iliiniido,  orii;eiies  et  non  ori>;ines  de  la  uovela. 


I .  Nous  sign.-ilcroiis  a  M.  )'.  un  recent  ouvrage  de  Mossen  Salvador  Bovc,  paru  dcpuis 
riinpression  dc  sa  these.  C'cst  Ic  Santo  I'omih  de  Aqiiitio  y  tl  rf«ic«.M)  di-l  cntendimiento 
(Flaton  y  Aristotetes  hannoniindos  par  el  beato  Raimundo  Lulio).  Barcelona,  19x5,  in-12. 
Sous  une  forme  scolastique  des  plus  rebarbatives  est  exposcc  la  theorie  complete  des 
rapports  du  luUisme  avec  I'aristotclisme  et  le  nco-platonisme,  ou  plus  exactement  ceque 
Lulie  pouvait  savoir  de  ccs  deux  doctrines. 


COMPTES  RENDUS  287 


M.  P.  pouvait  supposer  conniie  !a  vie  dc  Raymond  Lulle,  ou  conimcncer 
par  situer  son  pcrsonnage  dans  Ihistoire  pour  mieux  lairc  comprendrc  cnsuite 
lY'volution  de  son  esprit.  C'est  a  ce  second  parti  qu'il  s'cst  arrctc  et  il  a  eu 
parfaitcment  raison,  mais  si  nous  ne  nous  trompons  pas,  cetlc  partie  biogra- 
phique  sera  jugee  comme  la  plus  faible  dc  tout  I'ouvrage ;  cUe  donnerait  au 
lecteur  qui  se  bornerait  a  la  lire  une  idee  assez  defavorable,  et  nous  nous  batons 
d'ajouter  tres  fausse,  de  la  m^tbode  de  M.  P. 

Et  d'abord,  pourquoi  raconter  deux  Ibis  la  vie  de  Lulle,  une  premiere  fois 
en  abrege  dans  I'lntroduction,  une  seconde  fois  dans  le  chapitreier?  Mieux  eut 
valu  la  raconter  une  bonne  fois,  avec  toute  la  rigueur  et  toute  la  prudence  que 
Ton  doit  apporter  a  ces  sortes  de  recherches. 

Or  les  faits  connus  de  la  vie  de  Lulle  sont  tres  pcu  nombreux.  On  sait  qu"il 
naquit  en  1255,  vecut  d'abord  dans  le  siecle,  se  maria,  mena  la  vie  pen  edi- 
fiante  que  menaient  la  plupart  des  jeunes  nobles  de  son  temps  —  et  de  tons  les 
temps  —  se  convertit  a  I'asc^tisme  vers  1266,  abandonna  completement  le 
souci  de  tons  ses  interets  terrestres  vers  1275  et  mena  des  lors  la  vie  d'une 
sorte  de  chevalier  errant  de  la  Foi,  discutant  avec  les  h(5terodoxes  et  les  infi- 
deles,  reclamant  la  reforme  des  abus,  ecrivant  des  ouvrages  de  philosophic,  de 
morale  et  de  dialectique,  ne  perdant  aucune  occasion  de  gagner  des  ames  a  sa 
doctrine.  II  mourut  vers  13 15,  sans  que  Ton  puisse  preciser  dans  quel  pays  ni 
dans  quelles  circonstances.  Sa  vie  de  tertiaire  de  saint  Francois  offre,  en 
somme,  beaucoup  d'analogie  avec  celle  de  saint  Ignace  pendant  les  premieres 
annees  qui  suivirent  sa  conversion. 

Ces  renseignements  sont  un  peu  maigres,  quoiqu'ils  suffisent  au  demeurant, 
a  nous  faire  connaitre  la  physionomie  generale  de  notre  personnage.  M.  P.  a 
voulu  penetrer  plus  avant  dans  I'iniimitc  de  son  heros  et  s'est  servi  dans  ce 
but  d'un  des  ouvrages  les  plus  interessants  de  Lulle,  le  Blaiiquerna.  II  suppose, 
peut-etre  avec  raison,  peut-etre  aussi  a  tort,  que  Blanquerna  n'est  autre  que 
Lulle  lui-meme  et  que  le  roman  moral  de  Lulle  n'est  qu'une  maniere  d'auto- 
biographie.  Que  Lulle  ait  souvent  pens(^  a  ses  propres  aventures  en  ecrivant  son 
livre,  cela  est  infiniment  probable  et  presque  certain,  mais  Blanquerna  n'en 
reste  pas  moins  un  etre  fictif,  dont  nous  ne  pouvons  plus  determiner  exacte- 
ment  les  ressemblances  avec  Lulle.  Blanquerna,  par  exemple,  devient  pretre, 
eveque  et  pape.  Lulle  n'a  jamais  cte  que  le  doctor  barbatus.  Blanquerna,  c'est 
Lulle  idealise,  c'est  peut-etre  le  personnage  que  Lulle  aurait  voulu  etre,  ce  n'est 
pas  ce  qu'il  a  etc.  Si  nous  avions  sur  sa  vie  d'autres  renseignements  fournis 
par  des  sources  etrangeres,  nous  pourrions  controler  les  details  fournis  par 
Blanquerna ;  en  I'etat  actuel  ce  contr61e  parait  impossible  et  il  est  beaucoup 
plus  prudent  de  laisser  cet  ouvrage  completement  de  c5te. 


288  COMPTES  RENDUS 


M.  P.  suit  de  trop  pres  Blanquerna  et  ne  montre  pas  toujours  un  esprit  cri- 
ticjue  assez  cveillc.  II  nous  parle  des  «  scandales  »  de  la  jeunesse  de  LuUe,  ce 
qui  ivest  probablement  qu'une  exagcration  de  penitent ;  mais  il  n'a  pas  un  mot 
de  blame  pour  cet  homme  qui,  sans  autre  motif  que  de  pieuses  visions,  aban- 
donne  sa  femme,  son  enfant  et  neglige  a  tel  point  leurs  interets  que  sa  femme 
est  obligee  de  le  faire  interdire  pour  couserver  la  fortune  de  son  fils. 

L'histoire  de  la  conversion  est  plutot  tlevine'c  que  racontee  d'apres  des 
methodes  scientifiques ;  ce  n'est  pas,  d'apres  M.  Boutroux  ou  d'apres  William 
James,  qu'il  fallait  nous  en  parler,  mais  d'apres  Lulle  lui-meme,  et  la  il  etait 
possible  de  faire  usage  du  Blanquerna,  car  s'il  n'est  pas  certain  que  tout  ce  qui 
est  arrive  a  Blanquerna  soit  arrive  a  Lulle,  on  est  beaucoup  plus  fonde  a  croire 
que  les  idees  prctces  par  Lulle  a  Blanquerna  sont  les  idces  do  Lulle  lui-mcme. 
II  est  tres  remarquable  a  cet  egard  que  Lulle  en  racontant  ses  visions  miracu- 
leuses  ne  semble  pas  lui-meme  leur  preter  une  valeur  objective ;  il  a  cru  voir 
mais  il  admet  qu'il  a  pu  etre  le  jouet  d'une  illusion ;  il  y  a  la  un  exemple  tr^s 
interessant  de  self-conlrol,  d'autant  plus  notable  que  Lulle  se  croit  tr^s  reelle- 
ment  inspire  de  Dieu ;  sa  mystique  est  done  incomplete,  n'cmporte  pas  aban- 
don de  tout  esprit  critique,  s'arrcte  sur  le  seuil  de  I'extase.  C'est  un  etat  d'esprit 
vraiment  tres  particulier,  M.  P.  aurait  dii  pousser  son  etude  sur  ce  point  un  peu 
plus  qu'il  ne  I'a  fait. 

M.  P.  considere  Lulle  comme  c  un  peu  fauatique  »,  mais  le  fanatismc  est 
une  maladie  qui  affecte  la  mentalite  tout  entiere,  il  n'y  a  pour  ainsi  dire  pas  de 
degres  dans  Ic  fanatisme  ;  on  ne  peut  pas  etre  «  un  peu  fanatique  »  on  Test 
tout  entier.  Le  fanatisme,  c'est  I'exaltation  dangereuse,  mais  magnifique,  qui 
nait  de  la  passion.  Tons  ceux  qui  aiment  vraiment  sont  fanatiques.  L'amour, 
Tart,  la  patrie,  la  religion  ont  leurs  fanatiques,  et  c'est  par  eux,  par  eux  seule- 
ment,  qu'ils  ont  cte  magnifies  aux  yeux  des  hommes  et  mis  au  rang  des  dieux. 
Lulle  a  ete  un  fanatique,  mais  je  le  crois  bien  !  II  n'a  et6,  il  n'a  voulu  etre 
que  cela  !  Saisi  par  ce  qui  lui  est  apparu  comme  la  vt^rite  religieuse,  embrase 
de  l'amour  divin,  subjugue  par  la  folie  de  la  Croix,  il  est  devenu  une  sorte 
de  troubadour  religieux  et  mystique,  une  sorte  de  chevalier  du  Christ,  allant 
partout  faire  confesser  a  tout  venant  la  beaute  et  la  preeminence  de  son  Evau- 
gile.  Ce  n'est  pas  au  domaine  de  la  philosophie  ou  de  l'histoire  qu'il  appar- 
tient  reellement,  mais  au  domaine  de  la  poisie,  c'est  un  veritable  Don  Qui- 
chotte  de  la  Foi  ;  ct  c'est  aussi  un  heros  du  Roman  de  la  Rose,  escorte  de 
i\>uvrcic,  Douceur  d'ame,  Don  des  Larmes,  Affliction,  Misericorde,  Pureti^ 
de  coeur,  Paix  et  Persecution.  II  va  prechant  a  tous  la  bonne  doctrine,  moque 
par  les  uns,  calomnit^  par  les  autres,  n'en  ayant  cure,  parce  qu'il  vit  si  haut 
que  les  rires  des  hommes  ne  peiivent  plus  I'atteindrc.  M.  P.  a  bien  compris 
que  Lulle  est  surtout  remarquable  comme  apotre  et  comme  homme  d'action, 
mais  I'expression   traliit  queiquefois   sa  pen  see  et  nous  avouons  n'avoir  pas 


COMPTES  RENDUS  289 


compris  la  phrase  suivante:  «  En  qualitd  dc  fou  par  amour  de  Dicu,  Ray- 
«  mond  propose  dcs  paraboles  symboliques  au  pape  ct  aux  cardinaiix  ct  il  se 
«  trouve  que  ces  sortes  d'eveques  (?)  a  la  maniere  des  Orientaux  domicnt  dcs 
leqons  utiles  aux  grands  »  (p.  50).  On  saisit  ici  le  grand  dcfaut  du  livre  dc 
M.  P.,  il  a  ete  prepare  et  ccrit  trop  a  la  hate.  Dans  ses  travaux  futurs.  M.  P. 
fera  bien  de  moins  se  presser. 

Le  chapitre  11  est  consacre  a  I'obscurc  question  du  Svnibolismc  dc  Lulle. 
M.  P.  ne  semble  pas  y  attacher  une  trcs  grande  importance,  il  expose  aussi 
clairement  que  possible  cette  sorte  d'algcbre  logique,  de  mecanique  scienti- 
fique,  en  laquelle  on  pourrait  voir  un  projet  de  «  machine  a  raisonner  «,  ana- 
logue a  la  «  machine  a  calculer  "  de  Pascal,  C'est  une  idee  scolastique,  un 
artifice  d'exposition  auxquels  il  n'y  a  pas  lieu  de  s'arreter.  On  trouve  chez 
Lulle  des  idees  plus  interessantes,  un  essai  de  classement  des  sciences  qu'il 
appelle  I'arbre  de  science,  I'emploi  de  I'allegorie  pour  rendre  les  sciences 
vivantes  et  agreables,  en  d^pit  de  leur  gravite,  I'emploi  du  dialogue  avec  les 
entites  alors  a  la  mode  :  Pouvoir,  Sagesse,  Volonte.  Dans  la  Declatnalio  Rai- 
mundi,  Lulle  dialogue  avec  Socrate  qui  repr^sente  les  AverroTstes  latins  et  les 
philosophes  naturalistes  du  xiiie  sieclc  centre  le  doctor  harbatits  repr^scntant  la 
tradition  catholique. 

Les  m^thodes  de  Lulle  forment  I'objet  du  chapitre  111.  Elles  n'ont  rien  de 
bien  nouveau.  Lulle  part  des  ph^nomenes  sensibles  pour  s'elever  de  degre  en 
degre  a  I'idee  de  Dieu  ;  mais  une  fois  en  possession  de  cette  idee  supreme,  il 
cherche  a  ramener  toutes  les  connaissances  humaines  a  un  petit  nombrc  de 
principes  et  a  reduire  ces  principes  eux-memes  a  I'unite  methodologique. 
L'effort  est  sans  doute  trop  grand  pour  son  esprit  ;  il  ne  parvient  a  son  but 
qu'au  moyen  de  «  tourniquets  »  ^tranges,  que  Ton  n'a  jamais  ose  manoeuvrer 
«  de  peur  de  donner  une  preuve  de  I'absurdite  du  systeme  »  (p.  65).  M.  Bov^, 
I'un  des  Lullistes  les  plus  convaiucus  d'Espagne,  considerc  les  «  tourniquets  » 
comme  une  invention  surannee  et  inutile.  jM.  P.,  bien  entendu,  ne  sc  hasardc 
pas  a  aller  plus  loin,  et  nous  le  lui  reprocherons,  car  si  le  systeme  est  rcclle- 
ment  absurde,  il  faut  avoir  Ic  courage  de  Ic  dire  :  «  amicus  Lullius,  magis 
arnica  Veritas  ». 

Lulle  est,  en  somme,  un  scolastique  (chapitre  iv),  c'est  un  augustinicn,  un 
anselmien,  un  franciscain,  mais  tres  oppose  aux  thomistes. 

En  m^taphysique,  il  enseigne  que  le  createur  est  nettement  distinct  de  la 
creature  ;  le  monde  n'est  pas  eternel,  mais  en  realite  nouveau,  Dieu  I'a  crcc 
par  bont^,  pour  donner  a  I'homme  une  occasion  de  I'aimer  et  de  I'honorer.  Ce 
sent  la  des  conceptions  vraiment  trfes  faibles  dont  M.  P.  aurait  pu,  ne  fut-cc 
qu'en  passant,  faire  remarquer  la  puerilite. 

Sur  la  question  de  I'etre,  Lulle  ^tablit  une  distinction  ingcnieuse  entre  la 
matiere,  identifiee  par  lui  avec  la  puissance  et  la  Ibrme  identifiee  avec  Facte. 


290  COMPTES  RENDUS 


La  puissance  de  LuUe,  c'est  «  ce  qui  peut  etre  quelque  chose  »,  c'est  le  futur 
possible  «  le  bonifiable  et  le  magnifiable  ».  La  forme,  c'est  le  principe  actif  (nous 
dirions  la  force)  qui  transforme  le  simple  possible  en  fait,  en  acte.  C'est  la 
vieille  thtorie  de  la  substance  et  de  la  forme,  un  peu  rajeunie  et  presentee 
d'une  maniere  plus  saisissante. 

Lulle  nous  semblc  moins  bien  inspire  dans  sa  theorie  de  I'individuation,  il 
n'en  discerne  pas  nettement  la  cause  et  reste  tres  verbal  et  tres  nuageux. 

En  psvchologie  il  reconnait  cinq  puissances  de  Tame  :  la  vegetative,  la 
sensitive,  I'imaginative,  la  rationnelle  et  la  motrice.  Il  identifie  I'ame  avec 
ses  facultes  et  se  prononce  nettement  en  faveur  du  libre  arbitre.  L'honmie 
peut,  d'apres  lui,  se  decider  librement  entre  le  bien  et  le  nial,  et  il  lui 
semble  que  ce  libre  arbitre  justifie  pleinement  les  sanctions  qui  I'attendent  : 
«  S'il  fait  le  bien,  il  merite  la  gloire,  s'il  fait  le  mal,  il  m^rite  la  peine.  » 
II  en  serait  bien  ainsi  si  Ton  n'attribuait  pas  a  Dieu  la  prescience  infail- 
lible  de  I'avenir,  mais  si  Dieu  est  prescient,  il  restera  toujours  cette  terrible 
objection  :  pourquoi  tire-t-il  du  neant  des  etres  dent  il  connait  par  avance 
la  perdition  certaine  ?  M.  P.  a  tort  de  croire  que  Lulle  a  su  concilier  la 
volonte  libre  avec  la  predestination  ;  il  n'v  est  pas  mieux  parvenu  qu'aucun 
de  ccux  qui  se  sont  occupes  de  ce  probleme,  aussi  insoluble  que  la  qua- 
drature du  cercle.  On  ne  peut  le  resoudre  qu'en  sacrifiant  Tun  des  deux 
termes  a  I'autre,  soit  le  libre  arbitre  de  I'homme  a  la  prescience  divine,  soit  la 
prescience  divine  a  la  liberty  humaine.  Dans  une  lettre  ecrite  a  Charles  le 
Chauve  en  850,  Servat  Loup,  abbe  de  Ferrieres,  exposait  ainsi  la  theorie 
augustinienne  :  «  Dieu  prend  en  pitie  ceux  qu'il  releve  par  sa  grace,  et  il 
endurcit  ceux  qu'il  n'attendrit  pas  par  cette  meme  grace,  mais  quoique  la  rai- 
son  nous  en  soit  cachee,  c'est  par  un  juste  jugemeni  qu'il  les  abandonne.  Ceux 
qu'il  prend  en  piti6  sont  predestines  a  la  gloire,  d'apres  cette  parole  de 
I'apotre  :  quos  procscivit  et  prsedestinavit,  et  on  les  appelle  vases  d'election.  lis 
doivent  au  Seigneur  tout  ce  qu'ils  sont  et  tout  cc  qu'ils  ont  ;  c'est  sa  bonte 
qui  leur  a  donne  I'etre,  alors  qu'ils  n'etaient  pas  ;  c'est  sa  bonte  qui  les  sauve, 
alors  qu'ils  etaient  perdus.  Quant  a  ceux  qu'il  endurcit,  ou  plutot  qu'il  n'atten- 
drit pas,  et  qui  sont  laiss^s  dans  la  perdition,  perdition  qu'ils  ont  meritie  par 
le  peche  originel  et  par  le  pecht^  actuel,  on  les  appelle  vases  d'opprobre,  faits 
et  parfaits  pour  la  perdition,  lis  ont  ete  tires  du  neant,  et  c'est  un  don  de 
Dieu,  ils  sont  punis,  et  c'est  leur  faute.  »  Jamais  plus  bel  effort  n'a  ete  tente 
pour  resoudre  reffra\-ante  enigme  ;  le  textc  du  moine  du  ix=  siecle  est  bien 
autrement  serre  et  logique  que  celui  de  Lulle,  et  le  probleme  n'est  pas  resolu, 

Lulle  fait  de  I'ame  une  emanation  divine,  theorie  peu  orthodoxe,  croyons- 
nous,  mais  apres  tout  tris  s^duisante.  Elle  resterait  apres  la  mort  substance 
spirituelle  et  M.  P.  a  raison  de  faire  remarquer  les  rapports  qui  existent  entre 
cette  theorie  luUienne  et  les  idees  theosophiques,  mais  il  ne  nous  dit  pas  si 


COMPTES   KENDUS  29 1 


cette  substance  ou  puissance  spirituelle  est  susceptible  d'etre  modifiie  par  une 
force  quelconque.  Les  ortliodoxcs  diJclarent  qu'aprcs  la  mort  Ics  Ames  nc 
peuvent  plus  ni  m^riter  ni  dcmcriter ;  I'elu  ne  peut  plus  se  perdrc,  le  danine 
ne  pcut  plusse  sauvcr.  Lulle  s'est-il  conformti  a  rorthodoxie  en  cc  point  }  II 
semble  bien  que  non...  II  eut  etc  curieux  de  le  constater. 

Comnie  logicicn,  Lulle  ne  pouvait  ctre  que  realiste,  ct  il  Ta  etc  avec  pas- 
sion, les  universaux  existent  pour  lui  en  dehors  de  I'dme,  ils  constituent  les 
substances  generates  sous  lesquelles  subsistent  les  choses  particulicres. 

Lulle  ascete  et  mystique  (chapitre  v)  s'inspire  de  saint  Francois  et  de  saint 
Bonaventure,  il  veut  que  I'ascete  quitte  le  monde,  mene  la  vie  humble  et 
pauvre,  pense  sans  cesse  a  Dieu,  confesse  ses  pechi^s,  s'exerce  a  la  contrition 
et  satisfasse  a  la  justice  divine.  Son  Livre  de  la  Contemplation  est  une  formi- 
dable encyclopedie  en  5  volumes  de  350  a  400  pages  chacun,  ouvrage  verbeux 
et  fumeux,  mais  tres  vivant  par  place  ct  qui  se  rccommande  par  un  extraordi- 
naire bouillonnement  d'idees.  Poetc,  il  a  trouvc  des  prieres  splendides,  dout 
M.  P.  aurait  pu  citer  quelques  exemplcs.  II  s'est  cru  parvenu  a  I'illumination 
directe  et  a  la  science  infuse,  mais  n'a  point  vu  dans  cet  etat,  comme  les  doc- 
teurs  musulmans,  une  recompense  necessaire  de  ses  dpreuves  et  de  ses  tra- 
vaux,  il  y  a  vu  un  don  gratuit  dc  la  grace  divine  :  sa  mystique  a  etc  pour  lui 
un  principe  d'action. 

Le  chapitre  consacre  a  Lulle  theologien  (chapitre  vi)  parait  reveler  chez 
M.  P.  des  preoccupations  confessionnelles,  sans  doutc  tres  respectables,  mais 
etrangeres  au  debat.  La  question  de  savoir  si  le  Bienheureux  Lulle  a  ete  ou  non 
heretique  ne  nous  regarde  pas,  ce  qui  nous  int^resse  c'est  le  caractere  general 
de  sa  theologie,  c'est  la  part  qu'il  y  fait  a  la  raison.  II  a  evidemment  cru  pos- 
sible de  demontrer  logiquement  les.verites  dc  la  foi,  mais  commc  cette  tache 
est  inexecutable  puisqu'il  s'agit  d'idees  ind^montrabies  par  les  precedes  du  rai- 
sonnement  humain,  il  a  cchoue  dans  sa  tentative.  Ses  efforts  pour  expliquer 
le  mystere  de  la  Trinit^  nc  pouvaient  aboutir  qu'a  des  mots  :  «  Toi,  Essence, 
«  tu  es  sans  oisivete,  faite  de  Bontc,  d'infinitc,  d'Eternite,  d'Essenciant,  d'es- 
«  sencier,  d'essencie.  » 

L'ime  humaine  est  un  terme  nt^cessaire  cntre  les  substances  corporelles  et 
les  substances  angeliques.  Cette  necessite  semble  limitcr  la  liberte  divine  ; 
saint  Augustin  et  saint  Bonaventure  I'admettaieut,  ct  Lulle  I'admet  avec  eux, 
argument  d'autorite  sans  valeur  par  lui-mcmc,  mais  qui  conduit  a  dire  que 
Dieu  parfait  trouve  en  lui-meme  sa  propre  necessit<J,  ce  qui  est  en  definitive 
le  supreme  hommage  que  Ton  puisse  rendre  a  la  raison.  Dans  toutc  ccttc 
partie,  M.  P.  semble  avoir  pris  le  P.  Pasqual  pour  guide  principal,  on  aime- 
rait  mieux  le  voir  intervenir  plus  personnellement  dans  la  discussion. 

Le  principe  de  la  necessite  du  monde  une  fois  pose,  Lulle  I'applique  a  la 
destinee   de   I'homme  ;   il  ne  nous   dit  pas  pourquoi  il  etait  necessaire  que 


292  COMPTES  RENDUS 


rhommc  se  r^bellat  centre  Dieu,  mais  une  fois  la  rebellion  survenue,  la 
redemption,  on  recreation,  lui  apparait  aussi  necessaire  que  la  creation  pre- 
miere. Dieu  ne  pouvait  sans  abandonncr  son  plan  —  necessairement  parfait  — 
laisser  I'liomme  dcscendre  du  poste  eleve  qu'il  lui  avait  donne  au  milieu  des 
creatures,  il  fallait  qu'il  restat  comme  un  terme  moyen  entre  rhomme  et 
range,  et  seul  Dieu  pouvait  sauver  I'homme.  II  etait  egalcment  necessaire 
que  le  redempteur  fut  coniju  du  Saint-Esprit,  naquit  d'une  Vierge,  mourut, 
descendit  aux  enters  et  ressuscitat.  Toutes  ces  consequences  s'enchainent 
necessairement  les  uncs  aux  autres. 

Lulle  croit  a  I'immaculee  conception  de  la  Vierge  :  «  Notre  Dame  Sainte 
Marie  est  benie  entre  toutes  les  femmes,  selou  sa  conception  et  sa  naissance, 
en  tant  qu'elle  iut  sans  peche  originel.  »  Nous  sommes  la  en  plein  mysti- 
cismc,  mais  pour  Lulle,  I'immaculee  Conception  n'est  pas  moins  necessaire 
que  la  virginite  de  Marie. 

Lulle  a  combattu  avec  acharnement  i'averroisme  qui  avait  passe  dans  les 
Universiies  chretiennes,  mais  pour  bien  connaitre  le  contre-averroisme  de 
Lulle  (chapitre  vii)  il  serait  necessaire  d'avoir  une  connaissance  approfondie 
des  doctrines  du  savant  arabe  et  il  y  aurait  en  cette  seule  question  la  matiere 
de  toute  une  these.  Ibn-Rochd  (Averroes)  est,  en  somme,  tres  pen  et  tres  mal 
connu.  M.  Bonilla  v  San  Martin,  qui  en  a  commence  I'etude,  le  declare  tres 
obscur  et  tres  difficile  a  penetrer.  Renan  I'a  devinc  plus  qu'il  ne  I'a  entendu. 
On  ne  sait  pas  au  juste  jusqu'a  quel  point  il  etait  rationaliste. 

Pour  M.  P.,  Aristote  enseigne  une  doctrine  contraire  a  la  foi :  pas  de  crea- 
tion, pas  de  createur,  ni  de  premier  homme,  pas  de  dieu  anthropomorphe,  ni 
de  Providence,  pas  de  survivance  des  ames  apres  la  mort.  Ibn-Rochd  a  expli- 
que  purement  et  simplement  la  doctrine  d'Aristote  et  ses  commentateurs  Chre- 
tiens semblent  avoir  exagere  a  plaisir  les  dissonances  entre  I'aristotclisme  et  la 
theologie  orthodoxe.  Saint  Thomas  d'Aquin  a  cherche,  au  contraire,  a  conci- 
licr  Aristote  et  I'orihodoxie,  il  revere  le  philosophe  mais  ne  lui  abandonne 
aucun  point  de  la  foi.  Aux  yeux  des  orthodoxes  purs,  il  est  encore  suspect 
d'averroisme .  Lulle  appartient  a  ce  dernier  parti  ct  meno  rude  guerre  contre 
les  averroistes  ;  il  s'attache  surtout  a  d^montrer  que  le  monde  n'est  pas  ^ternel, 
mais  a  ete  cre^  et  qu'il  est  nouveau.  II  dedie  a  Philippe  le  Bel  lui-meme  son 
De  lanientatione  duodecitu  principioruiit  pbilosophiae  contra  Averroistas ;  cependant 
la  faction  aristot^licienne  est  si  puissante  qu'il  ne  parvient  pas  au  Concile  de 
Vienne  a  obtenir  la  condamnation  radicale  de  I'Averroismc. 

Cette  grande  querellc,  dans  laquelle  se  depensa,  de  part  et  d'autre,  une 
somme  prodigieuse  d'energie  et  d'ingeniosite,  M.  P.  ne  semble  pas  en  avoir 
aper(;u  toute  Timportance  ni  soupconner  que  I'histoire  n'en  pcut  encore  etre 
mdme  esquissee.  Un  mouvement  pareil  ne  s'explique  pas  seulement  par  des 
querelles  d'ecole ;  s"il  a  passionne  a  ce  point  les  esprits,  c'est  que  des  intiirets 


COMPTES   RENDUS  293 


dc  premier  ordre  s'y  trouvaient  mclcs,  et  au  fond  dc  la  qucrcllc,  il  faut  voir 
I'etcrnel  problcme  dc  la  liberie  de  pens^e.  La  licvrc  dc  savoir  qu'Arisloie  fait 
passer  dans  I'ame  de  scs  disciples  est  pour  saint  Augustin  I'une  des  formes  les 
plus  pernicieuses  de  la  concupiscence.  Aristote  voit  dans  la  science  le  but 
supreme,  Augustin  propose  aux  efforts  de  I'liomme  Taction  morale  soustoutes 
ses  formes.  Lequel  des  deux  a  raison  ? 

LuUe  a  ete  un  des  hommes  les  plus  instruits  de  son  temps.  Lulle  n'a  cepen- 
dant  pas  ete  un  savant  (chapitre  viii)  dans  toute  la  rigueur  du  terme,  mais 
surtout  un  vulgarisateur  ;  il  n'a,  en  somme,  rien  invente  et  a  partage  bon 
nombre  de  prejuges  de  son  epoque.  S'il  n'a  pas  ete  alchimiste,  comme  on  Ta 
pretendu,  il  a  connu  un  assez  grand  nombre  de  substances  et  a  vulgarise  la 
preparation  de  I'acide  nitrique.  II  a  cru  a  I'astrologie.  II  attachait  une  impor- 
tance capitale  a  la  theoric  des  elements.  II  attribuait  a  la  geometrie  une  grande 
valeur  pour  la  formation  et  I'education  de  I'esprit.  Ce  qu'il  a  pcut-etre  de 
plus  remarquable,  c'est  la  tournure  scientifique  et  pratique  de  son  imagination  ; 
il  connaissait  la  boussole  et  a  essaye  de  donner  une  tlieorie  scientifique  de  la 
navigation,  il  a  cherche  a  se  rendre  comptedes  causes  des  marees,  il  a  vu  dans 
la  lune  une  planete  assez  semblable  a  la  terre,  avec  des  mers  et  des  continents. 
M.  P.  le  felicite  d'avoir  cru  que  la  terre  est  ronde  (p.  157),  il  vent  dire  sphe- 
rique,  car  ceux-la  meme  qui  croyaient  la  terre  plate,  lui  donnaient  la  forme 
d'un  disque.  M.  P.  croit  que  Lulle  a  soupconne  I'existence  de  I'Amerique ; 
c'est  faire  bien  de  I'honneur  a  sa  divination.  Seneque  ecrivait  des  le  premier 
siecle  :  «  II  viendra  un  siecle  dans  les  temps  eloignes  ou  I'Ocean  relachera 
les  liens  des  choses,  oil  la  terre  se  manifcstcra  dans  toute  sa  grandeur  et  oil 
Thule  nesera  plus  la  plus  lointainedes  iles.  »  On  nepeut  pas  dire  que  S^n^que 
ait  pressenti  I'existence  du  Nouveau  Monde  avant  Colomb. 

Pedagogue  ct  moraliste  (chapitre  ix)  Lulle  compte  parmi  les  plus  interes- 
sants  du  mo3'en  age;  on  peut  noter  avec  eloge  la  part  importante  qu'il  fait  a 
la  langue  vulgaire  dans  I'education,  les  connaissances  medicales  et  juridiques 
qu'il  veut  donner  a  ses  disciples.  II  est  consequent  avec  ses  principesen  prefe- 
rant  I'etudc  de  la  theologie  a  celle  des  sciences  qui  distraient  la  pensee  et 
I'eloignent  de  Dieu.  M.  P.  voit  une  influence  musulmane  dans  I'idee  lullienne 
que  Dieu  «  a  cree  le  monde  pour  sa  gloire  ».  Mais  n'y  avait-il  pas  longtemp.s 
deja  que  les  Chretiens  chantaient :  «  Les  cieux  racontent  la  gloire  de  Dieu  » ? 
Cette  idee  est  tout  aussi  chretienne  que  musulmane,  parce  qu'elle  est  juive, 
parce  qu'elle  est  conforme  a  I'idec  que  se  fait  la  Bible  de  la  majeste  de 
lahveh. 

Lulle  sociologue  (chapitre  x)  serait  sans  doute  bien  etonne  de  voir  accoUc 
a  son  nom  un  vocable  aussi  moderne  et  aussi  revolutionnaire.  II  n'a  eu  qu'a 
Jeter  les  yeux  autour  de  lui  pour  voir  combien  pen  etait  chretienne  la  societe 
ecclesiastique  et  feodale  du  xili^  siecle.  II  n'a  pas  ete  le  seul  a  en  signaler  les 


294  COMPTES   RENDUS 


abus ;  il  y  a  eu  des  reformateurs  bien  autrcmcnt  vchements  et  liardis  qu'il  no 
I'a  ete,  depuis  Jehan  Clopinel,  continuateur  dii  Roman  dc  la  Rose,  jusqu'a 
I'epicicr  de  Troves,  auteur  dc  Rcnart  le  Contrefait. 

Lullc  cnscigne  Icur  devoir  aux  clercs  et  aux  princes.  II  croit  an  droit  divin 
des  rois,  niais  le  prince,  considere  comnie  individu,  est  un  homme  comme  un 
autre  (p.  199).  Les  chevaliers  ont  bien  a  faire  pour  vivre  conlbrmement  ii 
I'ideal  de  la  chevalerie.  Les  pelerins  font  cvuvre  pieuse  en  allant  aux  peleri- 
nages  mais  il  ne  faut  pas  que  ces  voyages  dcviennent  un  pretexte  a  rejouis- 
sances  et  a  divertissements.  Lullc  mcdit  volonticrs  des  juges  et  des  avocats, 
qui  ne  furcnt  jamais  populaires  en  aucun  pays  ;  il  medit  des  medccins  et  sur- 
tout  des  marchands ;  il  n'aime  ni  les  jongleurs,  ni  les  bergers,  ni  les  labou- 
reurs,  ni  les  artistes  et  parait  avoir  eu  des  idees  peu  esthetiques.  En  somme, 
ce  fut  un  franciscain,  plus  mystique  que  charitable,  tres  orthodoxe  et  surtout 
fait  pour  jouer  le  role  de  missionnaire  et  d'apotre  populaire.  C'est  la  probable- 
ment  qu'il  fut  le  plus  original  ct  le  plus  remarquable. 


Suivant  la  mode  du  jour,  M.  P.  a  voulu  recherclier  ii  quelles  sources  Lullc 
a  puise  ses  idees  et  souvent  meme  emprunte  la  forme  qu'il  leur  a  donnee. 
C'est  une  tache  ardue,  car  LuUe  ne  cite  jamais  ses  sources. 

II  n'a  connu  Aristote  que  par  I'intermediaire  des  commentateurs  arabes  qui, 
sans  s'en  douter,  melangeaient  I'aristotelisme  d'idees  neo-platoniciennes 
empruntees  a  I'ecole  d'Alexandrie.  Tout  le  monde  au  xiiie  siecle  attribuait  a 
Aristote  la  «  Th^ologie  »  qui  n'est  qu'un  echo  des  «  Enneades  »  de  Plotin. 
Le  neo-platonisme  n'a  pas  ete  sans  influence  sur  LuUe,  comme  on  le  devinc 
dans  une  des  questions  les  plus  obscures  de  sa  metaphysique.  II  se  demande 
s'il  convient  de  preter  une  ame  a  chacune  des  spheres  celestes,  et  il  obeit  assu- 
rement  aux  tendances  pantheistes  du  neo-platonicien,  en  resolvant  la  question 
par  I'affirmative,  mais  il  s'effraie  lui-meme  de  sa  hardiesse  et  ne  concede  aux 
spheres  cdestes  qu'une  ame  motrice.  II  I'attribue  d'ailleurs  a  toutes  les  spheres 
celestes,  meme  a  la  sphere  exttirieure,  qui  contient  toutes  les  autres  dans  sa 
concavity ;  le  ciel-firmament  n'est  pas  pour  lui  un  ciel  fixe;  il  se  meut  comme 
les  autres,  il  est  le  premier  mobile. 

M.  P.  nous  semble  avoir  raison  dc  pcnser  que  les  juifs  ont  cu  peu  d'in- 
lluence  sur  le  devcloppcmcnt  dc  la  pensee  lullienne  ;  cependant  le  philosophe 
juif  Ibn-Gabirol  (Avicebron),  recemment  tr^s  bien  etudie  par  M.  Bonilla  y  San 
Martin,  6tait  fort  connu  dans  I'Espagne  du  xiiie  siecle  et  LuUe  a  bien  du  lui 
faire  quelquc  emprunt.  La  Kabbalc  lui  a  peut-etre  inspire  I'idee  de  son  mcca- 
iiismc  logique,  mais  le  De  atiditu  Kahbalisiico  nc  doit  pas  lui  ctre  attribuc. 


COMPTES  RENDUS  295 


Lulle  connaissait  I'arabe  et  discuta  souvent  avec  les  docteurs  sarrasins. 
M.  P.  ne  voit  pas  cependant  trace  d'unc  influence  arabc  notable  sur  les  ide^es 
de  son  heros.  Lulle,  tres  nettement  contraire  i  raverro'isnie  et  partisan 
inflexible  de  I'orthodoxie  chretienne,  n'a  pu  etre  attire  par  Faristoielisme  Evi- 
dent des  Arabes.  L'influence  de  la  mystique  nuisulmane  est  beaucoup  plus  pro- 
bable, parce  qu'elle  etaitplus  d'accord  avec  le  temperament  particulier  de  Lulle. 
M.  P.  croit  que  le  souci  de  I'hygiene,  dont  le  doctor  baiimtiis  parait  anim6, 
pourrait  avoir  la  meme  origine,  mais  il  faut  se  rappeler  que  le  xili<:  siecle  don- 
nait  aux  soins  de  proprete  une  importance  que  le  xvi^  et  le  xvii=  ne  lui  lionne- 
ront  plus,  et  que  les  gens  se  baignaient  alors  sans  croire  manquer  a  la  bien- 
seance  et  a  la  modestie.  La  pratique  des  langues  orientaies  a  donn^  aussi  a  la 
langue  de  Lulle  la  saveur  un  pcu  etrange,  le  parfum  exotique  qui  font  un  des 
charmes  de  son  style;  c'est  un  «  mozarabe  »  pour  le  style,  conime  eut  dit 
M.  Dieulafoy. 

C'est  aux  penseurs  Chretiens  que  Lulle  a  emprunte  presque  toutes  ses  theo- 
ries. II  est  volontariste  et  realiste  comme  saint  Augustin,  il  admet,  commc  lui, 
la  predestination  et  Tinfluencc  souvcraine  de  la  grace,  il  admet  le  role  de 
I'illumination  dans  le  developpement  de  la  connaissance.  Au  pseudo-Denys,  il 
prend  I'idee  de  la  contemplation  en  Dieu.  Scot  Erigene,  bien  plus  hardi 
metaphysicien  qu'il  ne  le  fut  lui-meme,  I'entraine  dans  son  courant  mys- 
tique. Realiste,  exemplariste  et  mystique  commc  lui,  saint  Anselme  est  un  de 
ses  maitres,  mais  saint  Francois  et  saint  Bonaventure  ont  bien  mieux  trouve  le 
chemin  de  son  cceur,  car  il  fut,  comme  eux,  democrate,  ennemi  du  luxe  et  de 
Torgueil,  ami  des  pauvres  et  des  humbles,  champion  d'un  christianisme  simple 
et  doux.  II  fut  aussi  un  ecrivain  charmant.  C'est  peut-etre  comme  lettre  et 
comme  missionnaire,  bien  plus  que  comme  penscur,  qu'il  meriterait  d'etre 
etudie.  M.  P.  a  voulu  appliquer  a  I'etude  de  cette  etrange  et  deconcertante 
figure  les  methodes  un  peu  rudes  de  notre  critique  contemporaine;  il  I'a  sou- 
mise  a  un  veritable  lavage  a  I'acide,  et  presque  rien  n'est  reste  sur  la  toile  ; 
mais  ce  n'est  pas  a  dire  qu'il  ne  devait  rien  rester,  c'est  seulemcnt  une  raison 
de  croire  que  d'autres  methodes  moins  rigoureuscs  et  plus  subtiles  auraient 
conserve  a  I'original  un  peu  plus  de  son  relief  et  de  sa  couleur,  de  sa  transpa- 
rence et  de  sa  poesie. 


G.  Desdevisks  du  Dezert. 


296  COMPTES    RENDUS 


La  arquitectura  en  Mexico.  Iglesias.  Obra  formada  bajo  la  direccion  de 
Genaro  Garcia,  por  Antonio  Cortes.  Mexico.  Imprenta  del  museo 
nacional  de  arqueologia,  historia  v  etnologia,  1914,  in-f*^,  vi-52 
pp.,  150  fotograbados. 

M.  Genaro  Garcia,  directeur  du  Musee  national  d'archeologie  de  Mexico,  a 
eu  I'heureuse  idee  de  celebrer  le  centenaire  de  Tindependance  mexicaine  par 
la  publication  d'ouvrages  relatifs  a  rarchitecturc  et  au  mobilier  du  pays.  Le 
present  ouvrage,  consacrc  a  I'architecture,  etudie  quelqucs  types  d'eglises  ;  le 
second,  entierement  termine  aujourd'hui,  continuera  I'etude  de  Tarchitecture 
mexicaine  pendant  la  pcriode  coloniale  ;  le  troisieme  volume,  en  preparation, 
traitera  du   mobilier. 

Pendant  le  premier  siecle  de  la  conquete,  Ics  nouveaux  maiires  du  pays  ne 
songerent  qu'a  leur  defense,  les  batiments  qu'ils  eleverent  alors  ne  relevent 
guere  que  de  I'art  militaire.  Au  xvii^  siecle,  les  Espagnols  vivaient  en  plus 
grande  securiie  et  commencerent  a  se  preoccuper  d'esthetique ;  ce  fut,  bien 
entendu,  I'art  espagnol  qui  leur  fournit  les  modeles  et  c'est  a  I'ecole  baroque 
qu'appartiennent  les  edifices  presentes  par  M.  Antonio  Cortes. 

L'eglise  Saint-Dominique  d'Oaxaca  datedes  premieres  annees  du  xviK  siecle 
et  etait  terminee  en  1628.  M.  Antonio  Cortes  semble  admettre  que  la  deco- 
ration date  de  la  meme  epoque,  mais  la  question  meriterait  une  etude  toute 
speciale,  car  le  stvle  presente  tous  les  caracteres  de  I'ecole  de  Borromini,  et 
en  1628,  Borromini  n'avait  que  29  ans.  Le  premier  edifice  construit  a  Madrid 
dans  le  style  lieuri  qu'on  a  appele  neo-plateresque  est  la  cbapelle  de  Saint- 
Isidore  pres  de  l'eglise  Saint-Andre,  et  la  cbapelle  Saint-Isidore  fut  batie  de 
1657  a  1663.  M.  Cortes  constate  lui-meme  de  tres  grandes  ressemblances 
entre  la  decoration  de  Saint-Dominique  d'Oaxaca  et  celle  de  la  cbapelle  du 
Rosaire  a  l'eglise  Saint-Dominique  de  Puebla  batie  de  1650  a  1690.  II  nous 
semble  bien  probable  que  I'ornementation  de  l'eglise  d'Oaxaca  fut  posterieure 
d'un  certain  nombre  d'annecs  a  sa  construction.  On  ne  peut  s'empecber  non 
plus  de  coustater  une  tres  notable  difference  de  syle  entre  la  voute  comparti- 
mentee  de  la  nef  majeure,  qui  presente  encore  un  certain  gout  classique,  et 
la  fantaisie  debordante  de  la  voute  du  cboeur ;  celle-ci  parait  bien  ne  pas  appar- 
tenir  a  la  meme  ecole  que  celle-la.  On  notera  surtout  les  extraordinaires  sta- 
tues de  moines  penchees  le  long  des  aretes  des  lunettes,  qui  donnent  a  cette 
voute  un  caractere  si  etrange  et  si  fou.  Par  ailleurs  cette  eglise  ne  manque  pas 
de  charme,  elle  a  la  ricbesse  et  le  pimpant  d'une  paysanne  valencienne  en 
grand  habit  de  fete,  paree  deses  boucles  d'oreillcs  a  pendeloques,  desa  chaiue, 
de  son  tour  de  perles  et  de  son  collier. 

De  1720  a  1750  fut  batie,  pres  de  l'eglise  Saint-Dominique,  la  cbapelle  du 


COMPTES   RENDUS  297 


Rosaire  decoree  dans  un  style  un  pen  moins  exuberant.  On  retrouve  cepen- 
dant  SLir  la  voute  un  rosier  qui  rappelle  de  bien  pres  la  vigne  de  la  voute  du 
choeur  A  la  grande  ^glise  :  rensemble  est  de  moins  bonne  main,  avec  une 
sorte  de  gaucherie  rustique  assez  amusante.  M.  Cortes  voit  des  reminiscences 
byzantines  dans  le  decor  de  cette  chapelle  ;  s'est-il  demande  par  qnelle  voie 
I'art  byzantin,  si  profondement  ignore  des  artistes  du  xviiie  siecie,  aurait  pu 
venir  a  Oajaca?  II  est  vrai  que  la  coupole  octogone  de  la  chapelle  repose  sur 
des  pendentifs  et  que  Ics  peudentifs  ont  ete  de  mode  a  Byzance  apres  avoir 
ete  inventes  en  Perse  —  mais  si  I'ltalie  les  a  rectus  de  Byzance,  c'est  d'ltalie 
que  I'Espagne  les  a  importes  et  cest  d'Espagne  que  cette  architecture  d'ori- 
gine  orientaie  a  passe  aux  hides.  II  est  infinimeiit  probable  que  I'architecte 
de  la  chapelle  du  Rosaire  n'avait  de  sa  vie  vu  la  nioindre  piece  d'art  bvzantin. 

Les  cloitres  de  Saint-Dominique  d'Oaxaca  meritcnt  une  mention  speciale 
pourleur  simplicite  vraiment  monumentale. 

La  Chapelle  du  Saint-Christ  aUacolula  fut  terminee  avant  1674  et  possede, 
comme  celle  du  Rosaire,  une  coupole  octogone  sur  pendentifs.  La  tribune 
du  choeur  est  constituee  par  un  planclier  dont  les  solives  sont  decorees  avec 
une  richesse  qui  rappelle  a  M.  Cortes  les  prodigalites  de  I'art  mud^jar.  Ici, 
rien  ne  s'oppose  a  ce  que  des  dessins  venus  de  Teruel  ou  de  Saragosse  soient 
tombes  sous  les  yeux  de  I'artiste  mexicain.  La  chapelle  possede  un  ex-voio  du 
xviie  siecie  ;  im  petit  modelede  gallon  suspendu  a  sa  voute  aurait  sa  place  dans 
un  musee  de  la  marine ;  rien  de  plus  curieux  que  cette  architecture  navale, 
aussi  redondante,  aussi  paradoxale,  pour  le  moins,  que  I'achitecture  de  I'eglise 
elle-meme.  La  statue  de  la  Vierge  placee  sur  I'autel  du  croisiilon  gauche  est 
une  fort  jolie  piece,  et  la  table  d'autel,  probablement  en  at  gent  repousse,  fait 
honneur  a  I'habilete  des  ouvriers  mexicains  (pi.  38). 

La  Chapelle  du  Rosaire,  attenante  a  I'eglise  Saint-Dominique  de  Pucbla, 
date,  comme  les  precedentes,  du  xvii^  siecie  (1650- 1690).  Hlle  est  ornee 
d'aiiilejos,  dont  Puebla  possedait  a  cette  epoque  une  importante  fabrique  et  ses 
sculptures  offrent  un  interet  tout  particulier.  La  composition  generaleest  excel- 
lente,  si  rexecution  peche  encore  trop  souvent  par  la  lourdeur  ;  le  ciboriuni  a 
double  etage  qui  s'eleve  sous  la  coupoje  meme,  produit  un  fort  bel  effet 
(pi.  72).  Les  cadres  des  tableaux  donnent  le  dernier  mot  de  la  somptuosite  et 
de  la  profusion.  Les  pieces  les  plus  curieuscs  sont  deux  bas-reliefs  representant  la 
nativite  de  la  Vierge  et  la  Presentation  au  temple,  qui  nous  donnent  une  idee 
precise  de  Part  local  a  la  fin  du  xviic  siecie.  iM.  Cortes  voit  dans  le  premier 
de  ces  bas-reliefs  une  nativite  du  Christ,  uiais  ia  mise  en  sc^ne  nous  apprend 
que  nous  ne  sommes  point  a  Bethleem  et  qu'il  s'agit  non  de  J^sus  mais  de 
Marie;  sainte  Anne,  reconnaissable  a  sa  coifte,  est  couchee  dans  un  bon  lit  a 
baldaquin  et  a  rideaux  ;  saint  Joachim  se  prelasse  dans  un  bon  fauteuil  au  che- 
vet  de  I'accouchee ;  deux  femmes,  qui  ne  sont  point  sans  grace,  emmaillotent 
I'enfant,  tandis  qu'une  troisieme  apporte  a  la  mere  uu   reconfortant   potage. 


298  COMPTES  RENDUS 


C'est  la  sc^ne  traditionnelle  de  la  Nativitc  de  la  Vierge,  telle  qu'on  la  voit 
representee  dans  tons  les  tableaux  de  I'^cole  catalane  du  xve  siecle ;  le  sculp- 
teur  s'est  contente  de  la  transposer  en  style  mexicain.  On  reconnait  le  lit  a 
quenouilles  tronquees,  le  fauteuil  de  chene  ct  de  cuir  du  mobilier  espagnol  du 
xviF  siede.  N'ctaient  les  anges  par  trop  joufflus  qui  dansent  ou  jouent  de  la 
tronipette  au-dessus  des  acteurs  humains,  cettc  page  de  vie  intime  ne  serait 
pas  sans  charme  dans  sa  naivet^  (pi.  76).  La  Presentation  au  temple  nous 
plait  beaucoup  moins,  les  figures  sont  d'une  extreme  lourdeur  et  d'une  com- 
plete barbarie.  Les  costumes  de  saint  Joachim,  de  sainte  Anne  et  de  sa  sui- 
vante  nous  renseignent  peut-etre  sur  les  modes  d'alors  a  Puebla(pl.  77). 

L'eglise  de  Saint-Francois  d'Acatepec,  pres  de  Cholula,  appartient  a  un 
type  tout  special  et  rappelle  par  I'emploi  des  briques  emaillees  et  des  faiences 
peintes  le  choeur  de  la  Seo  de  Saragosse.  Des  souvenirs  d'Orient  affluent  a 
I'esprit  quand  on  contemple  cette  faqade  reluisante  que  le  soleil  mexicain  fait 
resplendir  comme  une  armure.  L'interieur,  decor^  de  platres  et  de  mortiers 
estampcs  ne  tient  pas  les  promesses  du  dehors.  Le  rococo  flamboyant  des 
voutes  et  des  autels  mele  les  tetes  aux  rinceaux  et  semble  avoir  garde  quelque 
chose  de  I'art  de  I'ancien  Mexique.  La  porte  du  baptistere  (p.  62)  rappelle  le 
fouillis  de  feuillages  et  de  figures  ou  excellait  I'art  azleque.  C'est  grand  dom- 
mage  que  les  revolutions  aient  fait  disparaitre  tout  renseignement  sur  la  date 
de  construction  de  cette  trescurieuse  eglise. 

L'eglise  paroissiale  de  Taxco  est,  au  contraire,  bien  datee  et  Ton  en  connait 
toutc  I'histoire.  Elle  fut  batie  de  1748  a  1758  par  le  Francais  La  Borde,  richis- 
sime  proprietaire  de  mines,  qui  depensa  a  sa  construction  1.66 1.5  72  pesos  et 
realisa  en  somme  un  fort  beau  modcle  d'eglise  churrigueresque.  Batie  en 
belle  pierre  rose,  l'eglise  de  Taxo  eleve  au-dessus  du  village  minier  ses  tours 
legeres  et  sa  coupole  (pi.  84  et  85).  A  l'interieur,  la  pierre  a  ete  malhcureu- 
sement  recouverte  d'un  hideux  badigeon  jaspe  ;  le  jour  oii  on  le  fera  dispa- 
raitre, l'eglise  recouvrera  toute  sa  beaute.  Le  cadre  general  est  donne  par  une 
ordonnancc  composite  traitee  dans  une  note  tres  speciale.  Les  acanthes  des 
cliapiteaux  et  les  rinceaux  des  frises  s'enlevent  comme  des  broderies  a  jour  sur 
le  fond  de  la  pierre  et  rappellent  tres  exactement  la  sculpture  de  la  facade 
orientale  a  la  cathedrale  de  Tortose.  L'eft'et  general  est  riche  et  leger  a  la  fois 
(fig.  91).  Le  rococo  a  garde  ses  magnificences  pour  les  autels,  grands  airs  de 
bravoure  joues  avec  une  indiscutable  maestria.  On  n'a  point  menag(§  I'argent, 
on  s'est  adresse  aux  bons  artistes  et  tout  ce  que  le  style  pent  donner  on  I'a 
obtenu  ;  les  ensembles  sont  eblouissants  et  les  details  prodigieux.  La  sacristie 
fait  penser  a  une  bibliotheque,  a  un  salon,  a  un  boudoir ;  les  tables,  les  fau- 
teuils,  les  armoires  de  bois  sculpte,  les  toiles  decoratives,  les  miroirs  penchds, 
tout  dit  avec  quel  soin  le  constructeur  a  prevu  toutes  choses,  et  a  chercht^  a 
satisfaire  jusqu'a  la  coquetterie  des  jeunes  clercs,  desireux,  avant  de  se  rendre 
au  choeur,  de  bien  poser  leurperruque  ou  leur  bonnet  carr^  (fig.  97). 


COMPTES    RENDUS  299 


L'eglise  Saint-Martin  appartenant  a  I'ancien  couvent  des  P^res  Jesuites  de 
Tepotzotlan  a  ete  construite  de  1679  a  1680  et  restaurec  dc  1750  a  1760. 
M.  Cortes  voit  en  elle  un  des  plus  beaux  Mifices  religieux  du  Mexiquc  et  louc 
I'execution  delicate  desretables.  La  facade,  un  peu  boiteuse,  puisqu'elle  ne  pos- 
sede  qu'une  seule  tour,  parait  bien  compost^e  sous  sa  riche  decoration  ;  I'execu- 
tion est  meilleure  que  dans  la  plupart  des  edifices  de  cette  epoque,  Ic  contour 
est  moins  mou  et  plus  fini.  Une  porte  lat^rale,  d'un  dessin  tout  classique, 
montre  qu'on  savait  encore  faire  simple  quand  on  le  voulait,  mais  on  crai- 
gnait  par-dessus  tout  de  faire  pauvre.  Les  Peres  qui  avaient  renonc^  pour 
eux-memes  a  toute  commodite  ne  se  rassasiaient  pas  de  luxe  pour  leurs  egliscs  ; 
lis  enchassaient  Dieu  et  les  saints  dans  For  et  les  pierreries,  sans  songer  que 
le  Christ  et  ses  saints  out  toujours  preche  le  mepris  des  richesses.  L'eglise  de 
Tepotzotlan  n'est  en  realite  qu'une  grotte  d'or,  dont  la  profusion  fait  penser 
aux  gopurams  des  temples  hiudous,  mais  le  detail  est  peut-etre  encore  plus  iin 
qu'a  Taxco  (fig.  112)  et  la  statuaire  ellc-meme  ne  manque  pas  toujours  de 
m^rite  (fig.  116).  Les  devants  d'autel  en  bois  sculpt^  comptent  parmi  les  meil- 
leures  pieces  du  decor  mexicain  (fig.  118). 

MM.  Garcia  et  Cortes  ont  droit  aux  remerciements  de  tons  les  amis  des 
arts  pour  la  publication  de  leur  magnifique  album.  L'art  churrigueresque  a 
ses  detracteurs,  mais  on  commence  aussi  a  lui  rendre  justice.  M.  Lamperez  y 
Romea  voit  en  lui,  avec  raison,  une  resurrection  du  plateresque,  M.  Garcia  dit 
qu'aucun  autre  art  ne  fut  plus  conforme  a  I'imagination  ardente  et  debordante 
desEspagnols  ;  on  ne  peut  nier  I'extraordinaire  impression  derichesse  et  d'etran- 
get(§  que  produisent  les  meilleurs  edifices  decores  dans  ce  gout ;  nous  nous  sen- 
tons,  pour  notre  part,  plein  d'indulgence  pour  ces  outranci^res  fantaisies.  C'est, 
en  tout  cas,  un  art  qu'on  ne  reverra  plus ;  il  convcnait  a  une  societe  eminem- 
ment  ploutocratique,  vivant  dans  des  cadres  tres  rigides  et  immuables;  la  vie 
mystique  etait  la  seule  vie  libre ;  les  hommes  genereux  ct  riches  depensaient 
leur  fortune  a  glorifier  ce  mysticisme  qui  faisait  leur  joie,  et  ces  conditions 
sociales  et  intellectuelles,  rien  ne  permet  actuellement  de  penser  qu'elles  se 
retrouveront  jamais.  II  est  done  sage  d'etudier  l'art  de  cette  periode  pendant 
que  subsistent  encore  presque  en  leur  beaute  premiere  les  monuments  qu'il  a 
elev^s  ;  ils  sont  souvent  fragiles,  et  une  fois  disparus,  qui  salt  quand  la  fantaisie 
dominera  de  nouveau  chez  les  architectes  ? 

G.  Df.sdevises  du  Dezert. 


Le  Gerant  :  M.-A.  Desbois. 


MACON,  PROTAT  FREKES,  IMPRIMEURS 


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